ITC Symbol Alternatives

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

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.

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

Berthold Wolpe designed Albertus from 1932 to 1940, with Albertus Titling being released first, and the lowercase a few years later. Stanley Morison commissioned the face for Monotype in England and named it after Albert the Great, medieval scientist and philosopher. Wolpe based the type on the lettering he did on bronze tablets. Such inscriptions were made by cutting back the ground around the... Read More

Franko Luin, Esperanto's designer, on this typeface: "Esperanto has a lot in common with classic typefaces, and newer interpretations of the classics. The italic reminds of the lettering idea of the Renaissance and their manuscripts. This typeface's name refers to the international language Esperanto, of course." The font is not compatible with the character set of the Esperanto language

ITC Élan combines a gothic simplicity with elegance in a distinctive yet subtle typeface design. There is also a feeling of architectural strength which is derived primarily from an optically even line-weight and a sense of vertical stress. The small, almost Latin, serifs add distinction at both display and text sizes. The large x-height, minimum stroke variance, and open counters are ideal... Read More

Rotis® is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by... Read More

Typefaces without serifs were known in nineteenth-century England as Grotesque (or Grotesk in German) because they seemed so unusual to... Read More

In 1983, D. Stempel AG redesigned the famous Helvetica typeface for the digital age, creating Neue Helvetica for Linotype: a... Read More

ITC Syndor is the work of Swiss designer Hans Eduard Meier, a font which is almost, but not quite, a sans serif. The beginnings and endings of strokes display a hint of the calligrapher's hand and these tiny serifs optimize legibility. This legibility and the typeface's simple forms make ITC Syndor an excellent choice for business and presentation graphics.

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

Similar in design to Franklin Gothic, News Gothic was one of a number of sans serif faces manufactured by American Type Founders in the early years of the twentieth century. Initially cut as a light sans, heavier versions were made in the 1940s and 50s along with some condensed weights. The News Gothic font family offers an uncomplicated design that is well suited for use in newspapers and... 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

FF Fago is the quintessential corporate typeface, a result of many years of work within the challenges and requirements of complex corporate design projects. The family offers five finely balanced weights across three widths, enough for virtually any conceivable application. Its various widths were carefully planned and drawn to complement and combine with each other. Aside from the impressive... 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

Myriad® was designed in 1992 by Robert Slimbach, Carol Twombly, and the design staff at Adobe Systems. It's a humanist sans serif... Read More

Éric de Berranger likes to multitask, and often works on two typeface families at once. Such was the case with Mosquito, a jaunty sans that was developed at the same time he was creating the more traditional Maxime. "Mosquito represented a sort of recreation," says de Berranger. "When I grew tired of working on one design I could work on the other and then come back to the first, full of... Read More

London-based designer David Quay designed ITC Quay Sans in 1990. One of the precursors to the long run of functionalist European sans serif faces that has been a dominating force in type design since the 1990s, ITC Quay sans is based on the proportions of 19th Century Grotesk faces. Grotesk, the German word for sans serif, defines an entire branch of the sans serif movement, which culminated in... Read More