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The Bodoni typeface surfaced during a time when typeface designers were experimenting with the contrast between thick and thin type characteristics. Giambattista Bodoni took that experiment to an extreme, creating this dramatic font. It has resonated through time in famous logos like Vogue and Calvin Klein, and is a great font to consider for mainstream fashion brands.
Coming from Nunito, a balanced sans-serif typeface superfamily, Jacques Le Bailly created Nunito Sans as an extension and fresh alternative to one of the most popular sans-serif fonts in the Google Font Library. Nunito Sans goes along with Montserrat, Theano Didot and Abhaya Libre. Its high x-height (the distance between the baseline of a line of type and top of the main body of lower case letters) and short descenders (lowercase letters, such as g and y, that extend or descend below the baseline) grants an approachable display.
Before Didot became known as a typeface, it was the name of a family composed of French printers, punch cutters and publishers in the late 1700s. They created many versions of Didot, one of which is used in the Giorgio Armani logo. Similar to Bodoni, the high contrast in line thickness creates drama. This font is also commonly seen in the fashion world. Didot works best when used simply, with careful kerning and high contrast colors.
Although Gafata STD was exclusively made for small size text in a medium to long context, this flexibility allows the font to work well when used in logo design in so many different platforms and applications. This whimsical sans-serif does wonders for mixing style and legibility, leaving an impression through ease and its minimal touches.
Modesto has a very interesting history from 19th and 20th-century circuses and hand-painted typography. This digital iteration takes those analog forms and perfects them into a usable type family containing 23 fonts.
No font list would be complete without a stencil typeface, and Revista is an exceptional example. It brings the elegance of a classic serif face and merges it with the utility of a stencil font. The broken letter forms lend a down-to-earth, DIY vibe and make a fashion-oriented font accessible to everyone.
Uruguayan designer Fernando Diaz wanted to create a font that could be used simultaneously for long and short text without affecting legibility. Fenix was birthed; this serif typeface is inspired by calligraphy, and offers the chance for elegant readability in larger texts. It has rough strokes suggested from both sharp and edged curves. Spatial proportions are thoughtfully designed to save space in height and width. Fenix STD works well with Dosis, Open Sans, Raleway, and Exo.
London-based designer James Barnard set out on a design journey: to create his own one day build (ODB, or phonetically oh-dee-bee), and complete the entire character set, numbers and the basic glyphs in 24 hours. The result Odibee Sans (get it). This ambitious and bold project speaks for itself, and works harmoniously alongside monospace and handwritten fonts.
Bowlby One SC proved that a font can be both utilitarian and decorative, taking forms to create a design from scanned and co-mingling 20th century type specimens. During this particular era, there was a shift in typography identity to favor monumental style. Type itself then became a much more competitive business.
Alfa Slab One is a fresh take on the Six-lines Pica Egyptian Robert Thorne created for the Thorowgood Foundry in 1821. The difference between the two is that Alfa Slab One was designed to be heavier. Just to name a few details, it has extreme stem weight, big serifs, more stem contrast and gradual terminals. Thicker and bolder fonts are great attention grabbers. Pair together with a thinner, smaller serif font, like Nixie One, to bring out that most important bold.
Advent Pro is an edgy display font, utilizing distinct universal characteristics of the whole sans-serif genre, but has created its own modern characteristics. Combine with Caveat for an effortless balance of familiar and friendly.
Yvonne Schüttler, the designer behind Krona One, looked to hand lettering from early 20th-century Swedish posters for inspiration. This sans serif font is done in a low contrast, semi-extended style, which makes it super readable, memorable and attractive in either a small or larger display.
Bauhaus, and its many iterations, are reinterpretations of the forgotten 1925 font Universal. The typeface ITC Bauhaus takes inspiration from Universal and builds on it with the inclusion of upper and lowercase characters, and an overall refinement. The strokes are all the same weight and evenly geometric, yet somehow wacky in their swooping curves and slivers of negative space. The font has a retro feel and is perfect for logo designs looking to capture an old-school feel.
Neville Brody created this font by processing an iteration of Akzidenz-Grotesk through the Photoshop blur filter three times to create the three corresponding weights. The result is not particularly readable, but it does have an exciting look that was especially groundbreaking to those working in the early 90s.
Neo Sans has become somewhat of a touchstone for sans-serif typefaces with curved corners. It was one of the first typefaces to use the technique in such a subtle and sophisticated way. It decreases the intensity of the font and creates a friendlier energy. This font was famously used by Intel, as seen in the example above, on the right.
According to the designer, Proxima Nova is a font that bridges the gap between fonts like Futura and Akzidenz-Grotesk. Based on broad spectrum of typography styles, a bridge between those extremes was welcome.
Veronika Burian (also one of the collaborators on the font Foco) is truly worth highlighting for her work on Tondo, one of the early fonts to take rounded corners to an extreme. The result is cute, fresh and healthy, which may be why it became part of the branding for the London marathon.
Since this font pairs well with bold colors, it would do well with industries that honor strength, like fitness brands or advertising agencies. Best of all, Fontfabric has released four weights for free, so you can play with which suits your needs best.
Orpheus Pro is rooted in two late 1920s designs by Walter Tiemann, who had an impressive talent for combining classic Roman proportions and Art Deco sensibilities. It has become a standard font in packaging and entertainment design.
Canada Type is an independent digital lettering and font development studio based in Toronto since 2004. Their versatile catalogue helps many designers bring international attention to their talents in the constantly changing and increasingly competitive world of type design. Their daily work is really the bespoke services they provide to companies across many fields on local, national and global levels, ranging from the marketing, financial and service industries to government agencies, film and gaming studios, software corporations, and telecom/broadcast outfits.
Oswald is a free, open-source sans-serif font available from Google Fonts. It was designed in 2011 by Vernon Adams, who was inspired to rework the classic style of the 'Alternate Gothic' sans serif typefaces to better fit the pixel grid of standard digital screens.
Oswald was updated continually by Adams until his untimely death in 2014. After that, it was updated in 2016 by Kalapi Gajjar and Alexei Vanyashin to support languages that use the Cyrillic script, and again in 2019 with a variable font weight axis.
Oswald is a clean, modern, condensed sans serif that is known for its simplicity and legibility. These characteristics have made it one of the most popular fonts for professional designers and dabblers alike. Oswald type is available in seven weights, from extra light to heavy.
How about Kanetin when you are looking for a font similar to Oswald Bold With the full complement of upper and lowercase characters, numerals, and punctuation, this is a great choice for your next advertising or branding project.
A clean and minimalist sans serif, Celesta offers regular, medium, semibold, bold, and extra bold weights, each with an oblique version. Check out the wide selection of preview images showing Celesta in use both as a display font and for body text, so you'll have a good idea of how the font works in real life.
Industrial is just what you need when you're looking for an Oswald sans serif font alternative with softer curves. The type comes in three weights, so you can use it for body text or projects that demand enlarged type, like posters, signage, and more.
With slightly more curves than Oswald, Albori is a choice to consider when you are looking for Oswald with a bit extra. This contemporary OpenType font is great for both display text and body text, and it supports both the Latin and Cyrillic alphabets.
Exensa Grotesk is a great choice when you are looking for a font most similar to Oswald with all five weights included. That's because Exensa offers light, regular, bold, extra bold, and black weights that you can use in just about any project your heart desires.
Looking for Oswald bold font alternatives How about Articulat, an excellent modern font with clean, bold lines that's terrific when you need to create text that commands attention. Articulat comes with ten weights, obliques, alternates, and multilingual support.
Neohead is another great choice when you are looking for an Oswald bold font lookalike. This modern, minimalist, condensed font offers perfectly balanced spacing, making it both functional and readable in small or large sizes.
Like the Oswald font family, Bergman Sans is carefully designed for high legibility and clarity. It offers upper and lowercase characters, numbers, punctuation, and full multilingual capabilities. This font is good for logo design, movies, books, magazine titles, and other projects where a strong display font is needed.
Bamba Grotesk