Use Fedra sans when your design requires a varying application of font, from the biggest navigational signage to that footnote in the annual report. Fedra sans is one part of a superfamily of fonts that include not only a serif family with lower and higher contrast (for low-resolution and high-resolution printing, respectively), but also a sans display and serif display version (for use in larger sizes,) Arabic, monospace and phonetic. Using the sans and serif font side by side guarantees headline and body type that aligns well with each other, and can greatly reduce your font matching headache. This family, like Scala sans, was designed to be used alongside their serif counterparts ( Fresco and Scala, respectively,) and can be more versatile than sans fonts that are designed by itself. Fresco sansįresco sans, by Fred Smeijers. At bigger sizes, its calligraphic details gives it enough character to stand on its own. At smaller sizes, the generous counterspace makes this font readable. Use Xtra sans if you want to convey a classical yet contemporary quality to your design. This font combines the sturdiness and compactness of a grotesk (the same category that I mentioned before) with strong broad-nib pen strokes. With such wealth of offerings, I’ll present fonts from new designers that you may not have heard of before. two-story ‘a’ and ‘g,’ having true italics instead of sloped roman.) Besides being one of the first fonts in the second “wave” of Humanist sans designs (the first wave is typified by Gill Sans, the second by Syntax and Frutiger, and the third by Scala Sans and Myriad.) The fourth wave is a bigger one that lasts until today. Scala Sans came into wide use in the 90’s, partly because it has a construction reminiscent of a roman typeface, and calligraphic influence (ie. The capitals are humanist and has higher contrasts, but its lowercase are more akin to Gotham, and thus can be used as an alternative. Stag Sans is Gotham’s humanist cousin, with higher x-height and softer, more blunt edges. Looking for something more economical? The Bryant Condensed family has the width of a grotesque, and would make a fine contemporary substitute for fonts like Benton Sans. Think of Bryant as a more serious version of Gotham Rounded. Bryant is based off the Wrico Lettering Set, a set of pens, rulers and plastic templates that one can trace for use in drafting. Proxima also takes inspiration from the Federal Highway fonts, and the fact that it was designed (and redesigned, hence the Nova addition) over the course of 27 years gives Proxima Nova an American vernacular quality that is reminiscent of Gotham, only more refined. Helvetica.) It shares the construction, details and stroke constrast of these categories, respectively. Proxima Nova, designed by Mark Simonson, is named for its close proximity to grotesque (ie. It’s likely to be the Helvetica of 2007–08, or better yet, “The New Helvetica.” It’s forms are sturdy, and its character distinct (and I daresay “American,” much like how Gill Sans is “English” or a Fraktur is “German.”) These alternatives, though, are available when you want something different. Ah, Gotham, the vernacular, everyman sans serif.
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