Carter Sans Alternatives

FF Kievit explores the synthesis of the sans serif form to the structure and proportions of a traditional Renaissance Roman such as... 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... Read More

Sumner Stone worked together with Bob Ishi of Adobe to create the Stone family fonts, which appeared in 1987. Coincidentally, ishi is the... Read More

Novarese font is the work of designer Aldo Novarese. He created 218 typeface cuts but as he was writing his book, Alfabeta, he decided to include only those he considered indispensable. He divided his fonts into 4 categories and in the designing of Novarese, took the best characteristics of each group and combined them into this font. In the style of Latin stone scripts of the second century... Read More

Inspired by Edward Johnston's type for the London Underground and Eric Gill's Gill Sans®, Camphor™ is also informed by the European sans... Read More

Tim Ahrens on the design of his typeface, Linotype Aroma: "I started designing Linotype Aroma about six months after discovering that Frutiger is not a brand of candy and Garamond not the name of a perfume. I didn't want it to be one of these bland, faceless fonts that sacrifice the natural, independent character of their figures to neutrality. I believe that beauty is often created... Read More

When Christian Schwartz and Erik Spiekermann were working on FF Meta Serif, they had plans to also expand the FF Unit family (a closely... Read More

FF Tundra is a compact serif with stressed forms and softened contours. Its concept developed from an investigation into narrow... Read More

The highly legible Shannon font family was designed by Janice Prescott Fishman and Kris Holmes exclusively for Compugraphic in 1982. Its design blends ancient Irish calligraphy from the Book of Kells and contemporary letterforms. Shannon is a modified sans serif typeface with slightly flared terminals that give the effect of serifs, thus aiding readability. Shannon is ideal for a whole range... Read More

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes... Read More

When Adrian Frutiger developed this font in 1980, he was influenced by the ancient scripts often found on stones in Normandy or Ireland. This is by no means a direct interpretation of such scripts, however. Icone™ has asymmetric flaring serifs, a distinct lack of straight lines, and the comfortable legibility that is characteristic of Frutiger types. Icone reflects the successful attempt to... Read More

Cajoun is a bold serif face from German designer Hans-Jürgen Ellenberger. The letters sit visually low on their baseline, in part due to their small x-height. Also, the curved portions of the letterforms have an old-style distribution of weight, which pulls the eye downward. This font has a contemporary feel, however, with crisp edges, and some pointy terminals. The typeface also contains old... Read More

The impulse behind André Maaßen's design of the Anno typeface was the design of a New Year's card for the year 2000 (Anno 2000). His desire to create the perfect printed image developed into a family with four styles: Anno 1, Anno 1 Italic, Anno 2, and Anno 2 Italic. Anno 1 and its Italic are semi-classicist typefaces, with a high degree of stroke contrast, while Anno 2 and its Italic are... Read More

ITC Quorum was designed by Ray Baker to neatly fill the gap between serif and sans serif. The typeface displays a distinctive, subtle design that illustrates a gothic simplicity. Baker cleverly combined traditional and formal letterform elements with contemporary design considerations and aesthetics. ITC Quorum is an excellent choice for advertising and publication graphics.

Christoph Dunst designed Novel for use in editorial design – which he thinks shouldn’t be too surprising given its name. Yet he also... Read More

Friz Quadrata font is the work of a number of collaborators. The first weight was created by Swiss designer Ernst Friz and made its first international appearance with the design release of Visual Graphics Corporations. ITC then arranged with VGC so that Victor Caruso could add a bold weight to the original. Finally, in 1992, French designer Thierry Puyfoulhoux designed italic weights for... Read More