Cormorant Designed by Christian Thalmann

Cormorant Light
Cormorant Light Thequick brown fox
Cormorant Regular jumps over the lazy dog.
Cormorant Italic Cormorant is an original design for an extravagant
display serif typeface inspired by the Garamond
Cormorant Medium heritage, hand-drawn and produced by Catharsis
Cormorant Medium italic Fonts. While traditional Garamond cuts make for
exquisite reading at book sizes, they appear clumpy
Cormorant SemiBold and inelegant at larger sizes. The design goal of
Cormorant SemiBold Italic Cormorant was to distill the æsthetic essence of
Garamond, unfetter it from the limitations of metal
Cormorant Bold printing, and allow it to bloom into its natural refined
CormorantBold Italic form at high definition

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Dr Jekyll and Mr Hyde
Two doors from one corner, on the left hand going east the
line was broken by the entry of a court; and just at that point
a certain sinister block of building thrust forward its gable on
the street. It was two storeys high; showed no window,
nothing but a door on the lower storey and a blind forehead of
discoloured wall on the upper; and bore in every feature, the

Théâtre
marks of prolonged and sordid negligence.

ct Distilled spirit
Two doors from one corner, on the left hand going east the line was broken by the
entry of a court; and just at that point a certain sinister block of building thrust
forward its gable on the street. It was two storeys high; showed no window,
nothing but a door on the lower storey and a blind forehead of discoloured wall on
the upper; and bore in every feature, the marks of prolonged and sordid negligence.
Dr Jekyll and Mr Hyde
Two doors from one corner, on the left hand going east the
line was broken by the entry of a court; and just at that point
a certain sinister block of building thrust forward its gable on
the street. It was two storeys high; showed no window,
nothing but a door on the lower storey and a blind forehead of
discoloured wall on the upper; and bore in every feature, the

Théâtre
marks of prolonged and sordid negligence.

ct Distilled spirit
Two doors from one corner, on the left hand going east the line was broken by the
entry of a court; and just at that point a certain sinister block of building thrust
forward its gable on the street. It was two storeys high; showed no window,
nothing but a door on the lower storey and a blind forehead of discoloured wall on
the upper; and bore in every feature, the marks of prolonged and sordid negligence.
 Playfair DisplayDesigned by Claus Eggers Sørensen

Playfair Regular
Playfair Italic The quick brown fox
Playfair Medium jumps over the lazy dog.
Playfair Italic
Playfair SemiBold Playfair Display takes influence from the designs of
Playfair SemiBold Italic printer and typeface designer John Bask­erville, the
punch­cut­ter Wil­liam Martin’s typeface for the
Playfair Bold ‘Boy­dell Shak­speare’ (sic) edi­tion, and from the
Playfair Bold Italic ‘Scotch Roman’ designs that fol­lowed thereafter. As
Playfair ExtraBold the name indic­ates, Play­fair Dis­play is well suited
Playfair ExtraBold Italic for titling and head­lines. It has an extra large
x-height and short des­cend­ers
Playfair Black
Playfair Black Italic

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Down the Rabbit-Hole
Alice was beginning to get very tired of sitting by her

sister on the bank, and of having nothing to do: once or

twice she had peeped into the book her sister was

reading, but it had no pictures or conversations in it, “and

what is the use of a book,” thought Alice “without pictures

or conversations?”

Quesadillas

& Distilled spirit

Alice was beginning to get very tired of sitting by her sister on the bank, and of

having nothing to do: once or twice she had peeped into the book her sister

was reading, but it had no pictures or conversations in it, “and what is the use

of a book,” thought Alice “without pictures or conversations?”

Down the Rabbit-Hole
Alice was beginning to get very tired of sitting by her
sister on the bank, and of having nothing to do: once or
twice she had peeped into the book her sister was
reading, but it had no pictures or conversations in it, “and
what is the use of a book,” thought Alice “without pictures
or conversations?”

Quesadillas
& Distilled spirit
Alice was beginning to get very tired of sitting by her sister on the bank, and of
having nothing to do: once or twice she had peeped into the book her sister
was reading, but it had no pictures or conversations in it, “and what is the use
of a book,” thought Alice “without pictures or conversations?”
 Lato
Designed by Łukasz Dziedzic

Lato Hairline The quick brown fox jumps

Lato Hairline Italic
over the lazy dog.
Lato Light Lato is a sans serif typeface family started in the summer
of 2010 by Warsaw-based designer Łukasz Dziedzic
Lato Light Italic
(“Lato” means “Summer” in Polish).

Lato Regular
When working on Lato, Łukasz tried to carefully balance
Lato Italic some potentially conflicting priorities. He wanted to
create a typeface that would seem quite “transparent”
Lato Bold when used in body text but would display some original
Lato Bold Italic traits when used in larger sizes. He used classical
proportions (particularly visible in the uppercase) to give

Lato Black the letterforms familiar harmony and elegance. At the

same time, he created a sleek sans serif look, which
Lato Black Italic
makes evident the fact that Lato was designed in 2010 —
even though it does not follow any current trend.

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The War of the Worlds
No one would have believed in the last years of the nineteenth century
that this world was being watched keenly and closely by intelligences
greater than man’s and yet as mortal as his own; that as men busied
themselves about their various concerns they were scrutinised and
studied, perhaps almost as narrowly as a man with a microscope might
scrutinise the transient creatures that swarm and multiply in a drop of
water. With infinite complacency men went to and fro over this globe
about their little affairs, serene in their assurance of their empire over
matter.

Summer
& Książęcych spóźnień

No one would have believed in the last years of the nineteenth century that this world was
being watched keenly and closely by intelligences greater than man’s and yet as mortal as
his own; that as men busied themselves about their various concerns they were
scrutinised and studied, perhaps almost as narrowly as a man with a microscope might
scrutinise the transient creatures that swarm and multiply in a drop of water.
The War of the Worlds
No one would have believed in the last years of the nineteenth century
that this world was being watched keenly and closely by intelligences
greater than man’s and yet as mortal as his own; that as men busied
themselves about their various concerns they were scrutinised and
studied, perhaps almost as narrowly as a man with a microscope might
scrutinise the transient creatures that swarm and multiply in a drop of
water. With infinite complacency men went to and fro over this globe
about their little affairs, serene in their assurance of their empire over
matter.

Summer
& Książęcych spóźnień

No one would have believed in the last years of the nineteenth century that this world was
being watched keenly and closely by intelligences greater than man’s and yet as mortal as
his own; that as men busied themselves about their various concerns they were scrutinised
and studied, perhaps almost as narrowly as a man with a microscope might scrutinise the
transient creatures that swarm and multiply in a drop of water.
 Oswald
Designed by Vernon Adams

Oswald ExtraLight The quick brown fox jumps

Oswald Light over the lazy dog.
Oswald Regular
Oswald is a reworking of the classic style historically represented
Oswald Medium by the 'Alternate Gothic' sans serif typefaces. The characters of
Oswald SemiBold Oswald were initially re-drawn and reformed to better fit the pixel
grid of standard digital screens. Oswald is designed to be used
Oswald Bold freely across the internet by web browsers on desktop computers,
laptops and mobile devices.

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 Vernon Adams, Typographer
Vernon Adams (born England, 1967) was a furniture restorer, woodcarver
and typeface designer. On August 24, 2016 Vernon Adams passed away
from injuries sustained in a scooter accident in May of 2014. New
Typography was his type design site. Vernon graduated in 2007 with an MA
in type design from the University of Reading and lived in San Clemente,
California.

Thank you, Vernon.

TYPE
& DESIGNER
Vernon Adams (born England, 1967) was a furniture restorer, woodcarver and typeface
designer. On August 24, 2016 Vernon Adams passed away from injuries sustained in a
scooter accident in May of 2014. New Typography was his type design site. Vernon
graduated in 2007 with an MA in type design from the University of Reading and lived in
San Clemente, California.
 Vernon Adams, Typographer
Vernon Adams (born England, 1967) was a furniture restorer, woodcarver
and typeface designer. On August 24, 2016 Vernon Adams passed away
from injuries sustained in a scooter accident in May of 2014. New
Typography was his type design site. Vernon graduated in 2007 with an MA
in type design from the University of Reading and lived in San Clemente,
California.

Thank you, Vernon.

TYPE
& DESIGNER
Vernon Adams (born England, 1967) was a furniture restorer, woodcarver and typeface
designer. On August 24, 2016 Vernon Adams passed away from injuries sustained in a
scooter accident in May of 2014. New Typography was his type design site. Vernon
graduated in 2007 with an MA in type design from the University of Reading and lived in
San Clemente, California.
 EB Garamond Designed by Georg Duffner

EB Garamond Regular
EB Garamond Regular Italic The quick brown fox
EB Garamond Medium jumps over the lazy dog.
EB Garamond Medium Italic
EB Garamond is intended to be an excellent, classical,
EB Garamond SemiBold Garamond. It is a community project to create a revival of
EB Garamond SemiBold Italic Claude Garamont’s famous humanist typefaces from the
mid-16th century. This digital version reproduces the
original design by Claude Garamont closely: The source for
EB Garamond Bold
the letterforms is a scan of a specimen known as the “Berner
EB Garamond Bold Italic specimen,” which was composed in 1592 by Conrad Berner,
the son-in-law of Christian Egenolff and his successor at the
EB Garamond ExtraBold Egenolff print office.
EB Garamond ExtraBold Italic

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Claude Garamond
(ca. 1480 – 1561) was a Parisian publisher. He was one of the leading

type designers of his time, and is credited with the introduction of

the apostrophe, the accent and the cedilla to the French

language. Several contemporary typefaces, including those currently

known as Garamond, Granjon, and Sabon, reflect his influence.

Garamond was an apprentice of Simon de Colines; later, he was an

assistant to Geoffroy Tory, whose interests in humanist typography and

the ancient Greek capital letterforms, or majuscules, may have informed

Garamond’s later work.

Romain
ct fl «Grec du Roi »

(ca. 1480 – 1561) was a Parisian publisher. He was one of the leading type designers of his time, and is credited

with the introduction of the apostrophe, the accent and the cedilla to the French language. Several contemporary

typefaces, including those currently known as Garamond, Granjon, and Sabon, reflect his influence. Garamond

was an apprentice of Simon de Colines; later, he was an assistant to Geoffroy Tory, whose interests in humanist

typography and the ancient Greek capital letterforms, or majuscules, may have informed Garamond’s later work.
Claude Garamond
(ca. 1480 – 1561) was a Parisian publisher. He was one of the leading

type designers of his time, and is credited with the introduction of

the apostrophe, the accent and the cedilla to the French

language. Several contemporary typefaces, including those currently

known as Garamond, Granjon, and Sabon, reflect his influence.

Garamond was an apprentice of Simon de Colines; later, he was an

assistant to Geoffroy Tory, whose interests in humanist typography and

the ancient Greek capital letterforms, or majuscules, may have informed

Garamond’s later work.

Romain
ct fl «Grec du Roi »

(ca. 1480 – 1561) was a Parisian publisher. He was one of the leading type designers of his time, and is credited

with the introduction of the apostrophe, the accent and the cedilla to the French language. Several contemporary

typefaces, including those currently known as Garamond, Granjon, and Sabon, reflect his influence. Garamond

was an apprentice of Simon de Colines; later, he was an assistant to Geoffroy Tory, whose interests in humanist

typography and the ancient Greek capital letterforms, or majuscules, may have informed Garamond’s later work.
 Merriweather Designed by Sorkin Type

Merriweather Light The quick brown fox

jumps over the lazy dog.
Merriweather Light Italic
Merriweather Regular
Merriweather Regular Italic Merriweather was designed to be a text face that
is pleasant to read on screens. It features a very
Merriweather Bold large x height, slightly condensed letterforms, a
mild diagonal stress, sturdy serifs and open
Merriweather Bold Italic forms.

Merriweather Heavy
Merriweather Heavy Italic

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 Slang Dictionary
Slang, like everything else, changes much in the course of time; and
though but fifteen years have elapsed since this Dictionary was first
introduced to the public, alterations have since then been many and
frequent in the subject of which it treats.

The first issue of a work of this kind is, too, ever beset with difficulties,
and the compiler was always aware that, though under the
circumstances of its production the book was an undoubted success, it
necessarily lacked many of the elements which would make that success
lasting, and cause the “Slang Dictionary” to be regarded as an authority
and a work of reference not merely among the uneducated, but among
people of cultivated tastes and inquiring minds

Workhorse
1856 WEST
Absinthe makes the heart grow fonder

Slang, like everything else, changes much in the course of time; and though but fifteen
years have elapsed since this Dictionary was first introduced to the public, alterations
have since then been many and frequent in the subject of which it treats.
 Slang Dictionary
Slang, like everything else, changes much in the course of time; and
though but fifteen years have elapsed since this Dictionary was first
introduced to the public, alterations have since then been many and
frequent in the subject of which it treats.

The first issue of a work of this kind is, too, ever beset with difficulties,
and the compiler was always aware that, though under the
circumstances of its production the book was an undoubted success, it
necessarily lacked many of the elements which would make that success
lasting, and cause the “Slang Dictionary” to be regarded as an authority
and a work of reference not merely among the uneducated, but among
people of cultivated tastes and inquiring minds

Workhorse
1856 WEST
Absinthe makes the heart grow fonder

Slang, like everything else, changes much in the course of time; and though but fifteen
years have elapsed since this Dictionary was first introduced to the public, alterations
have since then been many and frequent in the subject of which it treats.
 MontserratDesigned by Julieta Ulanovsky, Sol Matas, Juan
Pablo del Peral, Jacques Le Bailly

Montserrat Thin
Montserrat Thin Italic
The quick brown fox
Montserrat ExtraLight
Montserrat ExtraLight Italic jumps over the lazy dog.
Montserrat Light
Montserrat Light Italic
The old posters and signs in the traditional
Montserrat neighborhood of Buenos Aires
Montserrat Regular
Montserrat Regular Italic
inspired Julieta Ulanovsky to design this typeface
and rescue the beauty of urban typography that
Montserrat Medium
Montserrat Medium Italic
emerged in the first half of the twentieth century.
As urban development changes that place, it will
Montserrat SemiBold
Montserrat SemiBold Italic
never return to its original form and loses forever
the designs that are so special and unique. The
Montserrat Bold
Montserrat Bold Italic letters that inspired this project have work,
dedication, care, color, contrast, light and life, day
Montserrat ExtraBold
Montserrat ExtraBold Italic
and night! These are the types that make the city
look so beautiful.
Montserrat Black
Montserrat Black Italic

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The spirit of Buenos Aires
As urban development changes this place, it will never return
to its original form and loses forever the designs that are so
special and unique. To draw the letters, I rely on examples of
lettering in the urban space. Each selected example produces
its own variants in length, width and height proportions, each
adding to the Montserrat family. The old typographies and
canopies are irretrievable when they are replaced.

&
Buenos Aires
Urban

typography

There are other revivals, but those do not stay close to the originals. The
letters that inspired this project have work, dedication, care, color, contrast,
light and life, day and night! These are the types that make the city look so
beautiful.
The spirit of Buenos Aires
As urban development changes this place, it will never return
to its original form and loses forever the designs that are so
special and unique. To draw the letters, I rely on examples of
lettering in the urban space. Each selected example produces
its own variants in length, width and height proportions, each
adding to the Montserrat family. The old typographies and
canopies are irretrievable when they are replaced.

&
Buenos Aires
Urban

typography

There are other revivals, but those do not stay close to the originals. The
letters that inspired this project have work, dedication, care, color, contrast,
light and life, day and night! These are the types that make the city look so
beautiful.
 PT Sans
Designed by Alexandra Korolkova, Olga Umpeleva and
Vladimir Yefimov

PT Sans Regular The quick brown fox jumps

PT Sans Italic over the lazy dog.
The project is dedicated to the 300 year anniversary
PT Sans Regular
of the civil type invented by Peter the Great in
PT Sans Bold Italic 1708–1710. It was given financial support from the
Russian Federal Agency for Press and Mass
Communications.

PT Sans is based on Russian sans serif types of the

second part of the 20th century, but at the same time
has distinctive features of contemporary humanistic
designs.

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Structure, composition, and purpose
These styles apply to formal and business correspondence, normative
and technical documentation, general-purpose periodicals, etc. Two
special styles of extended proportions of PT Sans Caption Regular and
PT Sans Caption Bold are designed for using small-size text, i.e., for
footnotes, boxes, and notes for the main text. Also, these styles will look
very professional on websites, especially when creating lists where a
large number of short lines are required.

Public Type
ss Formal & Busines

These styles will be used, probably above all, on road signs, general signage,
hoardings, and other communication design objects in the urban environment.
Owing to the extended typeface area, these styles have increased readability when
viewed from an acute angle or from a long distance, in low-light conditions, in fog,
on luminescent and reflective signs, with backlighting, etc.
Structure, composition, and purpose
These styles apply to formal and business correspondence, normative
and technical documentation, general-purpose periodicals, etc. Two
special styles of extended proportions of PT Sans Caption Regular and
PT Sans Caption Bold are designed for using small-size text, i.e., for
footnotes, boxes, and notes for the main text. Also, these styles will look
very professional on websites, especially when creating lists where a
large number of short lines are required.

Public Type
ss Formal & Busines

These styles will be used, probably above all, on road signs, general signage,
hoardings, and other communication design objects in the urban environment.
Owing to the extended typeface area, these styles have increased readability when
viewed from an acute angle or from a long distance, in low-light conditions, in fog,
on luminescent and reflective signs, with backlighting, etc.
 Vollkorn
Designed by Friedrich Althausen

Vollkorn Regular The quick brown fox jumps

Vollkorn Regular Italic over the lazy dog.
Vollkorn SemiBold It intends to be a quiet, modest and well working text
Vollkorn Semibold Italic face for bread and butter use. Unlike its examples in
the book faces from the renaissance until today, it
has dark and meaty serifs and a bouncing and
Vollkorn Bold healthy look. It might be used as body type as well as
Vollkorn Bold Italic for headlines or titles. »Vollkorn« (pronounced
»Follkorn«) is German for »wholemeal« which refers
Vollkorn Black to the old term »Brotschrift«. It stood for the small
Vollkorn Black Italic fonts for every day use in hand setting times.

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Brotschrift
Brotschriften waren Schriftarten, in denen Fließ- oder Mengentext
gesetzt wurde. Der Ursprung des Begriffs liegt darin, dass
Schriftsetzer mit der Brotschrift ihr „tägliches Brot“ verdienten.
Gelegentlich werden auch die Begriffe Grundschrift, Werkschrift
oder Copyschrift verwendet.

Im Gegensatz zur Brotschrift stehen die Auszeichnungs- oder

Titelschriften, die auch als Akzidenzschriften bezeichnet werden

Butter & Brot

fi fl ff Friedrich Althausen
Brotschriften waren Schriftarten, in denen Fließ- oder Mengentext gesetzt wurde.
Der Ursprung des Begriffs liegt darin, dass Schriftsetzer mit der Brotschrift ihr
„tägliches Brot“ verdienten. Gelegentlich werden auch die Begriffe Grundschrift,
Werkschrift oder Copyschrift verwendet.

Im Gegensatz zur Brotschrift stehen die Auszeichnungs- oder Titelschriften, die

auch als Akzidenzschriften bezeichnet werden

Brotschrift
Brotschriften waren Schriftarten, in denen Fließ- oder Mengentext
gesetzt wurde. Der Ursprung des Begriffs liegt darin, dass
Schriftsetzer mit der Brotschrift ihr „tägliches Brot“ verdienten.
Gelegentlich werden auch die Begriffe Grundschrift, Werkschrift
oder Copyschrift verwendet.

Im Gegensatz zur Brotschrift stehen die Auszeichnungs- oder

Titelschriften, die auch als Akzidenzschriften bezeichnet werden

Butter & Brot

fi fl ff Friedrich Althausen
Brotschriften waren Schriftarten, in denen Fließ- oder Mengentext gesetzt wurde.
Der Ursprung des Begriffs liegt darin, dass Schriftsetzer mit der Brotschrift ihr
„tägliches Brot“ verdienten. Gelegentlich werden auch die Begriffe Grundschrift,
Werkschrift oder Copyschrift verwendet.

Im Gegensatz zur Brotschrift stehen die Auszeichnungs- oder Titelschriften, die

auch als Akzidenzschriften bezeichnet werden

 Vesper Libre Designed by Mota Italic

Vesper Regular The quick brown fox jumps

Vesper Medium over the lazy dog.
Vesper has a classical foundation, but with an
Vesper Bold entirely modern appearance, making reading
Vesper Heavy comfortable, but never boring.

Vesper Libre is a special web version that has been

optimized for online use. Tiny details have been
simplified and the character set is reduced for the
perfect balance of beautiful web typography with fast
page loading.

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 The Pale King
Past the flannel plains and blacktop graphs and skylines of canted rust,
and past the tobacco-brown river overhung with weeping trees and
coins of sunlight through them on the water downriver, to the place
beyond the windbreak, where untilled fields simmer shrilly in the a.m.
heat: shattercane, lamb’s-quarter, cutgrass, sawbrier, nutgrass,
jimsonweed, wild mint, dandelion, foxtail, muscadine, spinecabbage,
goldenrod, creeping charlie, butter-print, nightshade, ragweed, wild oat,
vetch, butcher grass, invaginate volunteer beans, all heads gently
nodding in a morning breeze like a mother’s soft hand on your cheek.

A dry martini
fi fl ff curvy
The design features softly broken corners on inside curves

Past the flannel plains and blacktop graphs and skylines of canted rust, and past the
tobacco-brown river overhung with weeping trees and coins of sunlight through them on
the water downriver.
 The Pale King
Past the flannel plains and blacktop graphs and skylines of canted rust,
and past the tobacco-brown river overhung with weeping trees and
coins of sunlight through them on the water downriver, to the place
beyond the windbreak, where untilled fields simmer shrilly in the a.m.
heat: shattercane, lamb’s-quarter, cutgrass, sawbrier, nutgrass,
jimsonweed, wild mint, dandelion, foxtail, muscadine, spinecabbage,
goldenrod, creeping charlie, butter-print, nightshade, ragweed, wild oat,
vetch, butcher grass, invaginate volunteer beans, all heads gently
nodding in a morning breeze like a mother’s soft hand on your cheek.

A dry martini
fi fl ff curvy
The design features softly broken corners on inside curves

Past the flannel plains and blacktop graphs and skylines of canted rust, and past the
tobacco-brown river overhung with weeping trees and coins of sunlight through them on
the water downriver.
 Open Sans Designed by Steve Matteson

Open Sans Light

Open Sans Light Italic The quick brown fox jumps
Open Sans Regular
over the lazy dog.
Open Sans Italic
Open Sans is a humanist sans serif typeface designed

Open Sans SemiBold by Steve Matteson, Type Director of Ascender Corp.

This version contains the complete 897 character set,
Open Sans SemiBold Italic
which includes the standard ISO Latin 1, Latin CE,

Open Sans Bold Greek and Cyrillic character sets. Open Sans was
designed with an upright stress, open forms and a
Open Sans Bold Italic
neutral, yet friendly appearance. It was optimized for

Open Sans ExtraBold print, web, and mobile interfaces, and has excellent
legibility characteristics in its letterforms.
Open Sans ExtraBold Italic

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Made for the web
Open Sans is a humanist sans-serif typeface designed by Steve
Matteson, commissioned by Google and released in 2011. It is
based on his previous Droid Sans design, designed for Android
mobile devices, but slightly wider.

Featuring wide apertures on many letters and a large x-height (tall

lower-case letters), the typeface is highly legible on screen and at
small sizes. It belongs to the humanist genre of sans-serif
typefaces, with a true italic. As of July 2018 it is the second most
served font on Google Fonts, with over four billion views per day
on more than 20 million websites.

Humanist
& Legible
Open Sans is a humanist sans-serif typeface designed by Steve Matteson, commissioned by
Google and released in 2011. It is based on his previous Droid Sans design, designed for
Android mobile devices, but slightly wider.
Made for the web
Open Sans is a humanist sans-serif typeface designed by Steve
Matteson, commissioned by Google and released in 2011. It is
based on his previous Droid Sans design, designed for Android
mobile devices, but slightly wider.

Featuring wide apertures on many letters and a large x-height (tall

lower-case letters), the typeface is highly legible on screen and at
small sizes. It belongs to the humanist genre of sans-serif
typefaces, with a true italic. As of July 2018 it is the second most
served font on Google Fonts, with over four billion views per day
on more than 20 million websites.

Humanist
& Legible
Open Sans is a humanist sans-serif typeface designed by Steve Matteson, commissioned by
Google and released in 2011. It is based on his previous Droid Sans design, designed for
Android mobile devices, but slightly wider.
 IBM Plex Sans
Designed by Mike Abbink

IBM Sans Plex Thin

IBM Sans Plex Thin Italic The quick brown fox jumps
IBM Sans Plex ExtraLight over the lazy dog.
IBM Sans Plex ExtraLight Italic

IBM Sans Plex Light IBM Plex™ is an international typeface family designed by
IBM Sans Plex Light Italic Mike Abbink, IBM BX&D, in collaboration with Bold Monday,
an independent Dutch type foundry. Plex was designed to
IBM Sans Plex Regular capture IBM’s spirit and history, and to illustrate the unique
IBM Sans Plex Regular Italic relationship between mankind and machine—a principal
theme for IBM since the turn of the century. The result is a
IBM Sans Plex Medium neutral, yet friendly Grotesque style typeface that includes a
IBM Sans Plex Medium Italic Sans, Sans Condensed, Mono, and Serif and has excellent
legibility in print, web and mobile interfaces. Plex’s three
IBM Sans Plex SemiBold
IBM Sans Plex SemiBold Italic designs work well independently, and even better together.
Use the Sans as a contemporary compadre, the Serif for
IBM Sans Plex Bold editorial storytelling, or the Mono to show code snippets.
IBM Sans Plex Bold Italic The unexpectedly expressive nature of the italics give you
even more options for your designs.

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Distinctly IBM
When we set out to create a typeface that was unmistakably
IBM, our own history was our greatest source of inspiration. IBM
has always served as a medium between mankind and machine.
Between the natural and the engineered. The emotional and
rational. The classic and the cutting-edge. Our most important
job is to help humanity and technology move forward together.
IBM Plex® brings these relationships to life through letterforms.

Versatile
& Mankind
Machine
When we set out to create a typeface that was unmistakably IBM, our own history was
our greatest source of inspiration. IBM has always served as a medium between
mankind and machine. Between the natural and the engineered. The emotional and
rational. The classic and the cutting-edge. Our most important job is to help humanity
and technology move forward together. IBM Plex® brings these relationships to life
through letterforms.
Distinctly IBM
When we set out to create a typeface that was unmistakably

IBM, our own history was our greatest source of inspiration. IBM

has always served as a medium between mankind and machine.

Between the natural and the engineered. The emotional and

rational. The classic and the cutting-edge. Our most important

job is to help humanity and technology move forward together.

IBM Plex® brings these relationships to life through letterforms.

Versatile
Mankind
& Machine

When we set out to create a typeface that was unmistakably IBM, our own history was

our greatest source of inspiration. IBM has always served as a medium between

mankind and machine. Between the natural and the engineered. The emotional and

rational. The classic and the cutting-edge. Our most important job is to help humanity

and technology move forward together. IBM Plex® brings these relationships to life

through letterforms.
 Volkhov Designed by Ivan Petrov

Volkhov Regular The quick brown fox

Volkhov Regular Italic jumps over the lazy dog.
Volkhov Bold Volkhov is a low-contrast seriffed typeface with a robust
character, intended for providing a motivating reading
Volkhov Bold Italic experience.

As a four-weight family it is well-suited for complex text

environments being economic and legible,
contemporary and prominent. Many of its design
solutions relate to this purpose: large open counters,
rather short descenders, and brutal asymmetric serifs.

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Don Quixote
Four generations had laughed over “Don Quixote” before it occurred

to anyone to ask, who and what manner of man was this Miguel de

Cervantes Saavedra whose name is on the title-page; and it was too

late for a satisfactory answer to the question when it was proposed to

add a life of the author to the London edition published at Lord

Carteret’s instance in 1738. All traces of the personality of Cervantes

had by that time disappeared. Any floating traditions that may once

have existed, transmitted from men who had known him, had long

since died out, and of other record there was none; for the sixteenth

and seventeenth centuries were incurious as to “the men of the time,”

a reproach against which the nineteenth has, at any rate, secured

itself, if it has produced no Shakespeare or Cervantes.

Motivation
Ivan Petrov
large open counters, rather short descenders, and

brutal asymmetric serifs

Four generations had laughed over “Don Quixote” before it occurred to anyone to ask, who

and what manner of man was this Miguel de Cervantes Saavedra whose name is on the

title-page; and it was too late for a satisfactory answer to the question when it was

proposed to add a life of the author to the London edition published at Lord Carteret’s

instance in 1738.
Don Quixote
Four generations had laughed over “Don Quixote” before it occurred to

anyone to ask, who and what manner of man was this Miguel de

Cervantes Saavedra whose name is on the title-page; and it was too

late for a satisfactory answer to the question when it was proposed to

add a life of the author to the London edition published at Lord

Carteret’s instance in 1738. All traces of the personality of Cervantes

had by that time disappeared. Any floating traditions that may once

have existed, transmitted from men who had known him, had long

since died out, and of other record there was none; for the sixteenth

and seventeenth centuries were incurious as to “the men of the time,”

a reproach against which the nineteenth has, at any rate, secured

itself, if it has produced no Shakespeare or Cervantes.

Motivation
Ivan Petrov
large open counters, rather short descenders, and

brutal asymmetric serifs

Four generations had laughed over “Don Quixote” before it occurred to anyone to ask, who

and what manner of man was this Miguel de Cervantes Saavedra whose name is on the

title-page; and it was too late for a satisfactory answer to the question when it was

proposed to add a life of the author to the London edition published at Lord Carteret’s

instance in 1738.
 Noto Serif
Designed by Ivan Petrov

Noto Serif ExtraLight The quick brown fox

Noto Serif Light
jumps over the lazy dog.

Noto Serif Regular Google has been developing a font family called
Noto, which aims to support all languages with a
Noto Serif Medium harmonious look and feel. Noto is Google’s answer
to tofu. The name noto is to convey the idea that
Noto Serif SemiBold Google’s goal is to see “no more tofu”.

Noto Serif Bold

Noto Serif Black

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 The Time Machine
The Time Traveller (for so it will be convenient to speak of him) was
expounding a recondite matter to us. His pale grey eyes shone and
twinkled, and his usually pale face was flushed and animated. The
fire burnt brightly, and the soft radiance of the incandescent lights in
the lilies of silver caught the bubbles that flashed and passed in our
glasses.

No more tofu
fi fl öüä Noto has multiple styles and weights,

and is freely available to all

Our chairs, being his patents, embraced and caressed us rather than submitted to be sat
upon, and there was that luxurious after-dinner atmosphere, when thought runs
gracefully free of the trammels of precision. And he put it to us in this way—marking the
points with a lean forefinger—as we sat and lazily admired his earnestness over this new
paradox (as we thought it) and his fecundity.
 The Time Machine
The Time Traveller (for so it will be convenient to speak of him) was
expounding a recondite matter to us. His pale grey eyes shone and
twinkled, and his usually pale face was flushed and animated. The
fire burnt brightly, and the soft radiance of the incandescent lights in
the lilies of silver caught the bubbles that flashed and passed in our
glasses.

No more tofu
fi fl öüä Noto has multiple styles and weights,

and is freely available to all

Our chairs, being his patents, embraced and caressed us rather than submitted to be sat
upon, and there was that luxurious after-dinner atmosphere, when thought runs
gracefully free of the trammels of precision. And he put it to us in this way—marking the
points with a lean forefinger—as we sat and lazily admired his earnestness over this new
paradox (as we thought it) and his fecundity.
 Ubuntu Designed by Datlon Maag

Ubuntu Light The quick brown fox jumps

Ubuntu Light Italic
over the lazy dog.
Ubuntu Regular
Ubuntu is an OpenType-based font family, designed to be a
Ubuntu Regular Italic modern, humanist-style typeface by London-based type
foundry Dalton Maag, with funding by Canonical Ltd.

Ubuntu Medium
The way typography is used says as much about our brand
Ubuntu Medium Italic as the words themselves.

The Ubuntu typeface has been specially created to

Ubuntu Bold
complement the Ubuntu tone of voice. It has a
Ubuntu Bold Italic contemporary style and contains characteristics unique to
the Ubuntu brand that convey a precise, reliable and free
attitude.

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The story of Ubuntu
Ubuntu is an ancient African word meaning ‘humanity to others’.
It is often described as reminding us that ‘I am what I am because
of who we all are’. We bring the spirit of Ubuntu to the world of
computers and software. The Ubuntu distribution represents the
best of what the world’s software community has shared with
the world.

Freedom
&
Reliable
Precise
Collaborative
Ubuntu is an ancient African word meaning ‘humanity to others’. It is often
described as reminding us that ‘I am what I am because of who we all are’. We
bring the spirit of Ubuntu to the world of computers and software. The Ubuntu
distribution represents the best of what the world’s software community has
shared with the world.
The story of Ubuntu
Ubuntu is an ancient African word meaning ‘humanity to others’.
It is often described as reminding us that ‘I am what I am because
of who we all are’. We bring the spirit of Ubuntu to the world of
computers and software. The Ubuntu distribution represents the
best of what the world’s software community has shared with
the world.

Freedom
&
Reliable
Precise
Collaborative
Ubuntu is an ancient African word meaning ‘humanity to others’. It is often
described as reminding us that ‘I am what I am because of who we all are’. We
bring the spirit of Ubuntu to the world of computers and software. The Ubuntu
distribution represents the best of what the world’s software community has
shared with the world.
 Roboto
Designed by Christian Robertson

Roboto Thin

Roboto Thin Italic The quick brown fox jumps

Roboto Light over the lazy dog.

Roboto Light Italic
Roboto has a dual nature. It has a mechanical skeleton
Roboto Regular and the forms are largely geometric. At the same time,

Roboto Regular Italic the font features friendly and open curves. While some

grotesks distort their letterforms to force a rigid rhythm,

Roboto Medium
Roboto doesn’t compromise, allowing letters to be
Roboto Medium Italic
settled into their natural width. This makes for a more

natural reading rhythm more commonly found in

Roboto Bold
humanist and serif types.
Roboto Bold Italic

Roboto Black

Roboto Black Italic

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Material Design
Google itself describes the font as “modern, yet approachable,” and says it
is somewhat emotional. It is a rounded, clean typeface with a
straightforward, geometric design that offers clean lines. The font includes
the ability to present it in thin, light, regular, medium, bold and black
weights. Some of the styles are condensed to keep the font readable even
at the lightest and heaviest weights. Since the font is approachable, it has a
friendly appeal, but at the same time it is not exactly casual. If the font were
a clothing item, it would fall somewhere between dress slacks and a dress
suit.

Versatile
& Android
Chrome OS
Google itself describes the font as “modern, yet approachable,” and says it is somewhat
emotional. It is a rounded, clean typeface with a straightforward, geometric design that offers
clean lines. The font includes the ability to present it in thin, light, regular, medium, bold and black
weights. Some of the styles are condensed to keep the font readable even at the lightest and
heaviest weights. Since the font is approachable, it has a friendly appeal, but at the same time it is
not exactly casual. If the font were a clothing item, it would fall somewhere between dress slacks
and a dress suit.
Material Design
Google itself describes the font as “modern, yet approachable,” and says it
is somewhat emotional. It is a rounded, clean typeface with a
straightforward, geometric design that offers clean lines. The font includes
the ability to present it in thin, light, regular, medium, bold and black
weights. Some of the styles are condensed to keep the font readable even
at the lightest and heaviest weights. Since the font is approachable, it has a
friendly appeal, but at the same time it is not exactly casual. If the font were
a clothing item, it would fall somewhere between dress slacks and a dress
suit.

Versatile
& Android
Chrome OS
Google itself describes the font as “modern, yet approachable,” and says it is somewhat
emotional. It is a rounded, clean typeface with a straightforward, geometric design that offers
clean lines. The font includes the ability to present it in thin, light, regular, medium, bold and black
weights. Some of the styles are condensed to keep the font readable even at the lightest and
heaviest weights. Since the font is approachable, it has a friendly appeal, but at the same time it is
not exactly casual. If the font were a clothing item, it would fall somewhere between dress slacks
and a dress suit.
 Lora
Designed by Cyreal

Lora Regular The quick brown fox

Lora Italic jumps over the lazy dog.
Lora Medium Lora is a well-balanced contemporary serif with roots in
Lora Medium calligraphy. It is a text typeface with moderate contrast
well suited for body text.

Lora SemiBold
A paragraph set in Lora will make a memorable
Lora SemiBold Italic appearance because of its brushed curves in contrast with
driving serifs. The overall typographic voice of Lora
Lora Bold perfectly conveys the mood of a modern-day story, or an
Lora Bold Italic art essay.

Technically Lora is optimised for screen appearance, and

works equally well in print.

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Lora is versatile
Four generations had laughed over “Don Quixote” before it occurred to

anyone to ask, who and what manner of man was this Miguel de Cervantes

Saavedra whose name is on the title-page; and it was too late for a

satisfactory answer to the question when it was proposed to add a life of the

author to the London edition published at Lord Carteret’s instance in 1738.

All traces of the personality of Cervantes had by that time disappeared. Any

floating traditions that may once have existed, transmitted from men who

had known him, had long since died out, and of other record there was none;

for the sixteenth and seventeenth centuries were incurious as to “the men of

the time,” a reproach against which the nineteenth has, at any rate, secured

itself, if it has produced no Shakespeare or Cervantes.

Typographic
Voice Optimized for screen appearance

Four generations had laughed over “Don Quixote” before it

occurred to anyone to ask, who and what manner of man

was this Miguel de Cervantes Saavedra whose name is on the

title-page; and it was too late for a satisfactory answer to the

question when it was proposed to add a life of the author to

the London edition published at Lord Carteret’s instance in

1738. All traces of the personality of Cervantes had

Lora is versatile
Four generations had laughed over “Don Quixote” before it occurred to

anyone to ask, who and what manner of man was this Miguel de Cervantes

Saavedra whose name is on the title-page; and it was too late for a

satisfactory answer to the question when it was proposed to add a life of the

author to the London edition published at Lord Carteret’s instance in 1738.

All traces of the personality of Cervantes had by that time disappeared. Any

floating traditions that may once have existed, transmitted from men who

had known him, had long since died out, and of other record there was none;

for the sixteenth and seventeenth centuries were incurious as to “the men of

the time,” a reproach against which the nineteenth has, at any rate, secured

itself, if it has produced no Shakespeare or Cervantes.

Typographic
Voice Optimized for screen appearance

Four generations had laughed over “Don Quixote” before it

occurred to anyone to ask, who and what manner of man

was this Miguel de Cervantes Saavedra whose name is on the

title-page; and it was too late for a satisfactory answer to the

question when it was proposed to add a life of the author to

the London edition published at Lord Carteret’s instance in

1738. All traces of the personality of Cervantes had

 Source Serif Pro Designed by Frank Grießhammer

Source Serif ExtraLight

Source Serif ExtraLight Italic
The quick brown fox jumps
Source Serif Light
over the lazy dog.
Source Serif Light Italic Source Serif Pro is a serif typeface in the transitional
style, designed to complement the Source Sans Pro
Source Serif Regular
Source Serif Regular Italic family. The close companionship of Serif and Sans is
achieved by a careful match of letter proportions and
Source Serif SemiBold typographic color. Source Serif is loosely based on the
Source Serif SemiBold Italic work of Pierre Simon Fournier, and many
idiosyncrasies typical to Fournier’s designs (like the
Source Serif Bold bottom serif on the b or the middle serif on the w) are
Source Serif Bold Italic also found in Source Serif. Without being a pure
historical revival, Source Serif takes cues from Fournier
Source Serif Black and reworks them for a modern age.
Source Serif Black Italic

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Pierre Simon Fournier
Pierre-Simon Fournier (15 September 1712 – 8 October 1768) was a French
mid-18th century punch-cutter, typefounder and typographic theoretician.
He was both a collector and originator of types. Fournier's contributions to
printing were his creation of initials and ornaments, his design of letters,
and his standardization of type sizes. He worked in the rococo form, and
designed typefaces including Fournier and Narcissus. He was known for
incorporating ‘decorative typographic ornaments’ into his typefaces.
Fournier's main accomplishment is that he ‘created a standardized
measuring system that would revolutionize the typography industry
forever.

the younger
Pierre Simon
Designed for a digital environment, the letter shapes
are simplified and highly readable

Pierre-Simon Fournier (15 September 1712 – 8 October 1768) was a French mid-18th century
punch-cutter, typefounder and typographic theoretician. He was both a collector and originator
of types. Fournier's contributions to printing were his creation of initials and ornaments, his
design of letters, and his standardization of type sizes.
Pierre Simon Fournier
Pierre-Simon Fournier (15 September 1712 – 8 October 1768) was a French
mid-18th century punch-cutter, typefounder and typographic theoretician.
He was both a collector and originator of types. Fournier's contributions to
printing were his creation of initials and ornaments, his design of letters,
and his standardization of type sizes. He worked in the rococo form, and
designed typefaces including Fournier and Narcissus. He was known for
incorporating ‘decorative typographic ornaments’ into his typefaces.
Fournier's main accomplishment is that he ‘created a standardized
measuring system that would revolutionize the typography industry
forever.

the younger
Pierre Simon
Designed for a digital environment, the letter shapes
are simplified and highly readable

Pierre-Simon Fournier (15 September 1712 – 8 October 1768) was a French mid-18th century
punch-cutter, typefounder and typographic theoretician. He was both a collector and originator
of types. Fournier's contributions to printing were his creation of initials and ornaments, his
design of letters, and his standardization of type sizes.
 Noto Sans Designed by Google

Noto Sans Thin

Noto Sans Thin Italic The quick brown fox jumps
Noto Sans ExtraLight
Noto Sans ExtraLight Italic
over the lazy dog.
Noto Sans Light When text is rendered by a computer, sometimes there
Noto Sans Light Italic will be characters in the text that can not be displayed,
Noto Sans Regular because no font that supports them is available to the
Noto Sans Regular Italic computer. When this occurs, small boxes are shown to
Noto Sans Medium represent the characters. We call those small boxes
Noto Sans Medium Italic “tofu,” and we want to remove tofu from the Web. This is
how the Noto font families got their name.

Noto Sans SemiBold

Noto Sans SemiBold Italic
Noto helps to make the web more beautiful across
Noto Sans Bold
platforms for all languages. Currently, Noto covers over
Noto Sans Bold Italic
30 scripts, and will cover all of Unicode in the future. This
Noto Sans ExtraBold is the Sans Latin, Greek and Cyrillic family. It has Regular,
Noto Sans ExtraBold Italic
Bold, Italic and Bold Italic styles and is hinted. It is derived
Noto Sans Black from Droid, and like Droid it has a serif sister family, Noto
Noto Sans Black Italic Serif.

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 A font for all the world’s languages
Noto’s goal is to provide a beautiful reading experience for all
languages. It is a free, professionally-designed, open-source
collection of fonts with a harmonious look and feel in multiple
weights and styles. All Noto fonts are published under the SIL
Open Font License (OFL) v1.1, which allows you to copy, modify,
and redistribute them if you need to.

International
Harmonious
No more tofu
Noto’s goal is to provide a beautiful reading experience for all languages. It is a free,
professionally-designed, open-source collection of fonts with a harmonious look and feel in
multiple weights and styles. All Noto fonts are published under the SIL Open Font License
(OFL) v1.1, which allows you to copy, modify, and redistribute them if you need to.
 A font for all the world’s languages
Noto’s goal is to provide a beautiful reading experience for all
languages. It is a free, professionally-designed, open-source
collection of fonts with a harmonious look and feel in multiple
weights and styles. All Noto fonts are published under the SIL
Open Font License (OFL) v1.1, which allows you to copy, modify,
and redistribute them if you need to.

International
Harmonious
No more tofu
Noto’s goal is to provide a beautiful reading experience for all languages. It is a free,
professionally-designed, open-source collection of fonts with a harmonious look and feel in
multiple weights and styles. All Noto fonts are published under the SIL Open Font License
(OFL) v1.1, which allows you to copy, modify, and redistribute them if you need to.
 Poppins
Designed by Indian Type Foundry

Poppins ExtraLight
Poppins ExtraLight Italic The quick brown fox
Poppins Light
Poppins Light Italic
jumps over the lazy dog.
Poppins Regular
Poppins Regular Italic Geometric sans serif typefaces have been a popular design
tool ever since these actors took to the world’s stage.
Poppins Light Medium Poppins is one of the new comers to this long tradition. With
Poppins Light Medium Italic support for the Devanagari and Latin writing systems, it is an
Poppins SemiBold internationalist take on the genre.

Poppins SemiBold Italic

Many of the Latin glyphs (such as the ampersand) are more
Poppins Bold
Poppins Bold Italic constructed and rationalist than is typical. The Devanagari
design is particularly new, and is the first ever Devanagari
Poppins ExtraBold typeface with a range of weights in this genre. Just like the
Poppins ExtraBold Italic Latin, the Devanagari is based on pure geometry,
Poppins Black particularly circles.
Poppins Black Italic

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 Geometric sans serif typefaces
During the 1920s, Central European type foundries joined the modernists
movements in art and design. Modernism was truly international in
scope; only three years after the founding of the German Bauhaus
school, several of its painting instructors were already exhibiting their
work in Calcutta.

Geometric sans serif typefaces have been a popular design element

ever since these actors took to the world’s stage. Poppins is one of the
newest comer to this long tradition. An open source family supporting
both Devanagari and Latin, this typeface is an internationalist take on the
geometric sans genre. Many of the Latin glyphs — the ampersand, for
instance — are far more constructed and rationalist than in previously
released geometric typefaces. Poppins’s Devanagari design is
particularly new. It is likely the first-ever large Devanagari family in this

&
style that has been brought to market.

Devanagari
design
pure geometry, particularly circles
During the 1920s, Central European type foundries joined the modernists movements in
art and design. Modernism was truly international in scope; only three years after the
founding of the German Bauhaus school, several of its painting instructors were already
exhibiting their work in Calcutta.
 Geometric sans serif typefaces
During the 1920s, Central European type foundries joined the modernists
movements in art and design. Modernism was truly international in
scope; only three years after the founding of the German Bauhaus
school, several of its painting instructors were already exhibiting their
work in Calcutta.

Geometric sans serif typefaces have been a popular design element

ever since these actors took to the world’s stage. Poppins is one of the
newest comer to this long tradition. An open source family supporting
both Devanagari and Latin, this typeface is an internationalist take on the
geometric sans genre. Many of the Latin glyphs — the ampersand, for
instance — are far more constructed and rationalist than in previously
released geometric typefaces. Poppins’s Devanagari design is
particularly new. It is likely the first-ever large Devanagari family in this

&
style that has been brought to market.

Devanagari
design
pure geometry, particularly circles
During the 1920s, Central European type foundries joined the modernists movements in
art and design. Modernism was truly international in scope; only three years after the
founding of the German Bauhaus school, several of its painting instructors were already
exhibiting their work in Calcutta.
 Eczar
Designed by Vaibhav Singh

The quick brown fox jumps

Eczar Regular
over the lazy dog.
Eczar Medium Eczar is designed by Vaibhav Singh, produced by David
Březina, and published by Rosetta Type Foundry. It began as a
Eczar SemiBold student project in 2010 during Vaibhav’s MA Typeface Design
studies at the University of Reading (UK). Eczar was designed

Eczar Bold to bring liveliness and vigor to multi-script typesetting in

Latin and Devanagari, and providing an alternative to existing

Eczar ExtraBold designs by imparting a strong mix of personality and

performance at both text and display sizes. The display
qualities of the design intensify in the heavier weights, and the
heaviest is best suited for headline and display purposes.

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Heard of herd mentality
Four generations had laughed over “Don Quixote” before it
occurred to anyone to ask, who and what manner of man was this
Miguel de Cervantes Saavedra whose name is on the title-page; and
it was too late for a satisfactory answer to the question when it was
proposed to add a life of the author to the London edition published
at Lord Carteret’s instance in 1738.

All traces of the personality of Cervantes had by that time

disappeared. Any floating traditions that may once have existed,
transmitted from men who had known him, had long since died
out, and of other record there was none; for the sixteenth and
seventeenth centuries were incurious as to “the men of the time,” a
reproach against which the nineteenth has, at any rate, secured
itself, if it has produced no Shakespeare or Cervantes.

Expressive
Serious viewer

discretion advised
Heard of herd mentality
Four generations had laughed over “Don Quixote” before it
occurred to anyone to ask, who and what manner of man was this
Miguel de Cervantes Saavedra whose name is on the title-page; and
it was too late for a satisfactory answer to the question when it was
proposed to add a life of the author to the London edition published
at Lord Carteret’s instance in 1738.

All traces of the personality of Cervantes had by that time

disappeared. Any floating traditions that may once have existed,
transmitted from men who had known him, had long since died
out, and of other record there was none; for the sixteenth and
seventeenth centuries were incurious as to “the men of the time,” a
reproach against which the nineteenth has, at any rate, secured
itself, if it has produced no Shakespeare or Cervantes.

Expressive
Serious viewer

discretion advised
 Libre Franklin Designed by Impallari Type

Libre Franklin Thin

Libre Franklin Thin Italic The quick brown fox jumps
Libre Franklin ExtraLight
Libre Franklin ExtraLight Italic
over the lazy dog.
Libre Franklin Light Libre Franklin is an interpretation and expansion of the
Libre Franklin Light Italic 1912 Morris Fuller Benton classic.
Libre Franklin Regular
Libre Franklin Regular Italic
Libre Franklin Medium
Libre Franklin Medium Italic
Libre Franklin SemiBold
Libre Franklin SemiBold Italic
Libre Franklin Bold
Libre Franklin Bold Italic
Libre Franklin ExtraBold
Libre Franklin ExtraBold Italic
Libre Franklin Black
Libre Franklin Black Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l m n o p q r s t u v w x y z

1234567890 .,-’“”!?#@

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1912 Morris Fuller Benton’s classic
Afar, Afrikaans, Albanian, Azerbaijani, Basque, Belarusian, Bislama,
Bosnian, Breton, Catalan, Chamorro, Chichewa, Comorian, Croatian,
Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian,
Filipino/Tagalog, Finnish, Flemish, French, Gaelic (Irish / Manx /
Scottish), Gagauz, German, Gikuyu, Gilbertese/Kiribati, Greenlandic,
Guarani, Haitian_Creole, Hawaiian, Hungarian, Icelandic, Igo/Igbo,
Indonesian, Irish, Italian, Javanese, Kashubian, Kinyarwanda, Kirundi,
Latin, Latvian, Lithuanian, Luba/Ciluba/Kasai, Luxembourgish,

International
Harmonious
1912
Afar, Afrikaans, Albanian, Azerbaijani, Basque, Belarusian, Bislama, Bosnian, Breton, Catalan,
Chamorro, Chichewa, Comorian, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian,
Faroese, Fijian, Filipino/Tagalog, Finnish, Flemish, French, Gaelic.
1912 Morris Fuller Benton’s classic
Afar, Afrikaans, Albanian, Azerbaijani, Basque, Belarusian, Bislama,
Bosnian, Breton, Catalan, Chamorro, Chichewa, Comorian, Croatian,
Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian,
Filipino/Tagalog, Finnish, Flemish, French, Gaelic (Irish / Manx /
Scottish), Gagauz, German, Gikuyu, Gilbertese/Kiribati, Greenlandic,
Guarani, Haitian_Creole, Hawaiian, Hungarian, Icelandic, Igo/Igbo,
Indonesian, Irish, Italian, Javanese, Kashubian, Kinyarwanda, Kirundi,
Latin, Latvian, Lithuanian, Luba/Ciluba/Kasai, Luxembourgish,

International
Harmonious
1912
Afar, Afrikaans, Albanian, Azerbaijani, Basque, Belarusian, Bislama, Bosnian, Breton, Catalan,
Chamorro, Chichewa, Comorian, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian,
Faroese, Fijian, Filipino/Tagalog, Finnish, Flemish, French, Gaelic.
 Work Sans Designed by Wei Huang

Work Sans Thin

Work Sans Thin Italic The quick brown fox
Work Sans ExtraLight
Work Sans ExtraLight Italic jumps over the lazy dog.
Work Sans Light Work Sans is a typeface family based loosely on early
Work Sans Light Italic Grotesques, such as those by Stephenson Blake, Miller
Work Sans Regular & Richard and Bauerschen Giesserei. The Regular
Work Sans Regular Italic weight and others in the middle of the family are
Work Sans Medium optimised for on-screen text usage at medium-sizes
Work Sans Medium Italic (14px-48px) and can also be used in print design. The
Work Sans SemiBold fonts closer to the extreme weights are designed more
Work Sans SemiBold Italic for display use both on the web and in print. Overall,
Work Sans Bold features are simplified and optimised for screen
Work Sans Bold Italic resolutions; for example, diacritic marks are larger
Work Sans ExtraBold than how they would be in print. A version optimised
Work Sans ExtraBold Italic for desktop applications is available from the Work
Sans github project page.
Work Sans Black
Work Sans Black Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l m n o p q r s t u v w x y z

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 Wurundjeri & Boon Wurrung
Work Sans was made in part on the stolen lands of the
Wurundjeri and Boon Wurrung people of the Kulin nations. I
pay my respect to their elders, past, present and future.
Sovereignty has never been ceded.

The Boon wurrung are Aboriginal Australians of the Kulin

nation, who occupy from Werribee River to Wilsons Prom,
Victoria, Australia. Before British colonisation, they lived as all
people of the Kulin nation lived, sustainably on the land, for
tens of thousands of years. They were called the Western Port
or Port Philip tribe by the early settlers, and were in alliance
with other tribes in the Kulin nation, having particularly strong
ties to the Wurundjeri people.

Grotesque
Stephenson Blake Miller & Richard

Work Sans was made in part on the stolen lands of the Wurundjeri and Boon Wurrung
people of the Kulin nations. I pay my respect to their elders, past, present and future.
Sovereignty has never been ceded.
 Wurundjeri & Boon Wurrung
Work Sans was made in part on the stolen lands of the
Wurundjeri and Boon Wurrung people of the Kulin nations. I
pay my respect to their elders, past, present and future.
Sovereignty has never been ceded.

The Boon wurrung are Aboriginal Australians of the Kulin

nation, who occupy from Werribee River to Wilsons Prom,
Victoria, Australia. Before British colonisation, they lived as all
people of the Kulin nation lived, sustainably on the land, for
tens of thousands of years. They were called the Western Port
or Port Philip tribe by the early settlers, and were in alliance
with other tribes in the Kulin nation, having particularly strong
ties to the Wurundjeri people.

Grotesque
Stephenson Blake Miller & Richard

Work Sans was made in part on the stolen lands of the Wurundjeri and Boon Wurrung
people of the Kulin nations. I pay my respect to their elders, past, present and future.
Sovereignty has never been ceded.