A lot of people out there tend to think that virtual reality is only for video games, films, and casino online America games. However, this is not true as recent developments show an increase in VR apps. In this article, we focus on a few of the best virtual reality apps for 2019.
Allumette This stop-motion VR film is truly breath-taking, telling the story of a young girl living in a cloud-borne village. In this app, you can decide to be the camera. That way, you get to explore the beautiful world, while ignoring the main storyline, if you wish. Allumette is not a game but rather a narrative. None of the characters in this narrative can speak well, although they can convey emotions and intent using noises.
This story has based a poem by Hans Christian Andersen and will transport you into a storybook world. The runtime’s actually quite long (20 minutes) as compared to other stories that last for less than 10 minutes. This app, which is between a video game and film narrative, will surely give you a divine experience.
Colosse This real-time visual reality story comes with top-notch sound design, as well as great animations. As you take a journey in this story, you get a natural pace as some audio and visual cues are the ones that will direct your gaze. Also, sitting objects will only be activated after you look at them. You also noticed that some of the events that happen will depend on the direction that you will be facing. Because of that, you’ll never get stuck looking for the next piece of the puzzle.
Google Earth VR We have always loved Google Earth and VR has made it super cool. You get to go around the world, enjoying the cool landscape. It’s also quite educational if you like geography. What we really love about Google Earth VR or online betting sites south africa is that you can quickly navigate the menu and visit some major landmarks such as the Golden Gate Bridge or the Sphinx.
If you have used Google Earth before, you probably already know what it’s about. The only huge difference now is that you can now zoom across fast distances within a matter of seconds and you also get to land on major structures all around the world.
The React ecosystem offers us a lot of libraries that all are focused on the interaction of drag and drop. We have react-dnd, react-beautiful-dnd, react-drag-n-drop and many more, but some of them require quite a lot of work to build even a simple drag and drop demo, and some do not provide you with more complex functionality (e.g. multiple drag and drop instances), and if they do, it becomes very complex.
Let’s create a simple app and add drag-n-drop functionality to it. We’re going to use create-react-app to spin up a new React project:
npx create-react-app your-project-name
Now let’s change to the project directory and install react-sorting-hoc and array-move. The latter is needed to move items in an array to different positions.
cd your-project-name
yarn add react-sortable-hoc array-move
Adding styles, data and GIF component
For simplicity’s sake, we are going to write all styles in our App.css file. You can overwrite styles you have there with the following ones:
Go to http://localhost:3000/ to see what the app looks like now:
A screenshot of react-sortable-hoc-article-app
Onto the drag-n-drop stuff
Alright, it’s time make our GIFs draggable! And droppable.
To start, we need two HOCs from react-sortable-hoc, and the >arrayMove method from the array-move library to modify our new array after dragging happens. We want our GIFs to stay on their new positions, right? Well, that’s what this is going to allow us to do.
Let’s import them:
import { sortableContainer, sortableElement } from 'react-sortable-hoc';
import arrayMove from 'array-move';
As you might have guessed, those components will be wrappers which will expose functionality needed for us.
sortableContainer is a container for our sortable elements.
sortableElement is a container for each single element we are rendering.
We’ve just created a container for our children elements that would be passed inside our SortableGifsContainer and also created wrapper for a single Gif component.
If it’s a bit unclear to you, no worries — you will understand right after we implement it.
💡Note: You need to wrap your children in a div or any other valid HTML element.
It’s time to wrap our GIFs into the SortableGifsContainer and replace the Gif component with our newly created SortableGif:
<SortableGifsContainer axis="x" onSortEnd={onSortEnd}>
{gifs.map((gif, i) =>
<SortableGif
// don't forget to pass index prop with item index
index={i}
key={gif}
gif={gif}
/>
)}
</SortableGifsContainer>
It’s important to note that you need to pass the index prop to your sortable element so the library can differentiate items. It’s similar to adding keys to the lists in React).
We add axis because our items are positioned horizontally and we want to drag them horizontally, while default is vertical dragging. In other words, we’re limiting dragging along the horizontal x-axis. As you can see we also add an onSortEnd function, which triggers every time we drag or sort our items around. There are, of course, a lot more events but you can find more info in the documentation which already does an excellent job of covering them.
Time to implement it! Add the following line above the return statement:
I want to explain one more thing: our function received an old and new index of the item which was dragged and, of course, each time after we move items around we modify our initial array with the help of arrayMove.
Tada! Now you know how to implement drag-n-drop in your project. Now go and do it! 🎉 🎉 🎉
What if we have multiple lists of items?
As you can see, the previous example was relatively simple. You basically wrap each of the items in a sortable HOC and wrap it around with sortableContainer and, bingo, you’ve got basic drag and drop.
But how will we do it with multiple lists? The good news is that react-sortable-hoc provides us with a collection prop so we can differentiate between lists.
If you want to see them before we move next, add the following lines after the SortableGifsContainer closing tag:
{newGifs.map(gif => <Gif key={gif} gif={gif} />)}
Alright, time to replace it with a draggable version.
Implementation is the same as in first example besides one thing — we have added a collection prop to our SortableGif. Of course, you can come up with any name for the collection, just remember, we’re gonna need it in for our onSortEnd function.
Next we need to add the collection prop to our first list. I’ve chosen the name GIFs for the first list of items, but it’s up to you!
Now we need to to change our onSortEnd function. Our function received old and new indexes, but we can also destructure a collection from it. Right, exactly the one we’ve added to our SortableGif.
So all we have to do now is write a JavaScript switch statement to check for the collection name and to modify the right array of GIFs on drag.
As you can see, we now have two separate lists of GIFs and we can drag and sort. Moreover, they are independent meaning items from different lists won’t be mixed up.
Exactly what we wanted to do! Now you know how to create and handle drag and drop with multiple lists of items. Congratulations 🎉
Hope you’ve enjoyed it as much as I did writing it! If you’d like to reference the complete code, it’s all up on GitHub here. If you have any questions, feel free to contact me via email.
The React ecosystem offers us a lot of libraries that all are focused on the interaction of drag and drop. We have react-dnd, react-beautiful-dnd, react-drag-n-drop and many more, but some of them require quite a lot of work to build even a simple drag and drop demo, and some do not provide you with more complex functionality (e.g. multiple drag and drop instances), and if they do, it becomes very complex.
Let’s create a simple app and add drag-n-drop functionality to it. We’re going to use create-react-app to spin up a new React project:
npx create-react-app your-project-name
Now let’s change to the project directory and install react-sorting-hoc and array-move. The latter is needed to move items in an array to different positions.
cd your-project-name
yarn add react-sortable-hoc array-move
Adding styles, data and GIF component
For simplicity’s sake, we are going to write all styles in our App.css file. You can overwrite styles you have there with the following ones:
Go to http://localhost:3000/ to see what the app looks like now:
A screenshot of react-sortable-hoc-article-app
Onto the drag-n-drop stuff
Alright, it’s time make our GIFs draggable! And droppable.
To start, we need two HOCs from react-sortable-hoc, and the >arrayMove method from the array-move library to modify our new array after dragging happens. We want our GIFs to stay on their new positions, right? Well, that’s what this is going to allow us to do.
Let’s import them:
import { sortableContainer, sortableElement } from 'react-sortable-hoc';
import arrayMove from 'array-move';
As you might have guessed, those components will be wrappers which will expose functionality needed for us.
sortableContainer is a container for our sortable elements.
sortableElement is a container for each single element we are rendering.
We’ve just created a container for our children elements that would be passed inside our SortableGifsContainer and also created wrapper for a single Gif component.
If it’s a bit unclear to you, no worries — you will understand right after we implement it.
💡Note: You need to wrap your children in a div or any other valid HTML element.
It’s time to wrap our GIFs into the SortableGifsContainer and replace the Gif component with our newly created SortableGif:
<SortableGifsContainer axis="x" onSortEnd={onSortEnd}>
{gifs.map((gif, i) =>
<SortableGif
// don't forget to pass index prop with item index
index={i}
key={gif}
gif={gif}
/>
)}
</SortableGifsContainer>
It’s important to note that you need to pass the index prop to your sortable element so the library can differentiate items. It’s similar to adding keys to the lists in React).
We add axis because our items are positioned horizontally and we want to drag them horizontally, while default is vertical dragging. In other words, we’re limiting dragging along the horizontal x-axis. As you can see we also add an onSortEnd function, which triggers every time we drag or sort our items around. There are, of course, a lot more events but you can find more info in the documentation which already does an excellent job of covering them.
Time to implement it! Add the following line above the return statement:
I want to explain one more thing: our function received an old and new index of the item which was dragged and, of course, each time after we move items around we modify our initial array with the help of arrayMove.
Tada! Now you know how to implement drag-n-drop in your project. Now go and do it! 🎉 🎉 🎉
What if we have multiple lists of items?
As you can see, the previous example was relatively simple. You basically wrap each of the items in a sortable HOC and wrap it around with sortableContainer and, bingo, you’ve got basic drag and drop.
But how will we do it with multiple lists? The good news is that react-sortable-hoc provides us with a collection prop so we can differentiate between lists.
If you want to see them before we move next, add the following lines after the SortableGifsContainer closing tag:
{newGifs.map(gif => <Gif key={gif} gif={gif} />)}
Alright, time to replace it with a draggable version.
Implementation is the same as in first example besides one thing — we have added a collection prop to our SortableGif. Of course, you can come up with any name for the collection, just remember, we’re gonna need it in for our onSortEnd function.
Next we need to add the collection prop to our first list. I’ve chosen the name GIFs for the first list of items, but it’s up to you!
Now we need to to change our onSortEnd function. Our function received old and new indexes, but we can also destructure a collection from it. Right, exactly the one we’ve added to our SortableGif.
So all we have to do now is write a JavaScript switch statement to check for the collection name and to modify the right array of GIFs on drag.
As you can see, we now have two separate lists of GIFs and we can drag and sort. Moreover, they are independent meaning items from different lists won’t be mixed up.
Exactly what we wanted to do! Now you know how to create and handle drag and drop with multiple lists of items. Congratulations 🎉
Hope you’ve enjoyed it as much as I did writing it! If you’d like to reference the complete code, it’s all up on GitHub here. If you have any questions, feel free to contact me via email.
This week I’ve been brooding about web performance and accessibility. It all began when Ethan Marcotte made a lot of great notes about the accessibility issues that are common with AMP:
In the recordings above, I’m trying to navigate through the AMP Story. And as I do, VoiceOver describes a page that’s impossible to understand: the arrows to go back or forward are simply announced as “button”; most images are missing text equivalents, which is why the screen reader spells out each and every character of their filenames; and when a story’s content is visible on screen, it’s almost impossible to access. I’d like to say that this one AMP Story was an outlier, but each of the nine demos listed on the AMP Stories website sound just as incomprehensible in VoiceOver.
Ethan continues to argue that these issues are so common in AMP that accessibility must not be a priority at all:
Since the beginning, Google has insisted AMP is the best solution for the web’s performance problem. And Google’s used its market dominance to force publishers to adopt the framework, going so far as to suggest that AMP’s the only format you need to publish pages on the web. But we’ve reached a point where AMP may “solve” the web’s performance issues by supercharging the web’s accessibility problem, excluding even more people from accessing the content they deserve.
I’ve been thinking a lot about this lately — about how accessibility work is often seen as an additional feature that can be tacked onto a project later — rather than accessibility work being a core principle or standard of working on the web.
And I’ve seen this sentiment expressed time and time again, in the frameworks, on Twitter, in the design process, in the development process, and so much so that arguing about the importance of accessibility can get pretty exhausting. Because at some point we’re not arguing about the importance of accessibility but the importance of front-end development itself as a series of worthy skills to have. Skills that can’t be replaced.
I love fast software. That is, software speedy both in function and interface. Software with minimal to no lag between wanting to activate or manipulate something and the thing happening. Lightness.
Later in the piece, Mod describes fast software as being the very definition of good software and argues that every action on a computer — whether that’s a website or an app — should feel as if you’re moving without any latency whatsoever. And I couldn’t agree more; every loading screen and wait time is in some degree a mark of failure.
The takeaway here is that you literally can’t afford desktop or iPhone levels of JS if you’re trying to make good web experiences for anyone but the world’s richest users, and that likely means re-evaluating your toolchain.
I’m sort of a jerk when it comes to this stuff. I don’t think a website can be good until it’s fast. The kind of fast that takes your breath away. As fast as human thought, or even faster. And so my point here is that web performance isn’t something we should aspire to, it should be the standard. The status quo. The baseline that our work is judged by. It ought to be un-shippable until the thing is fast.
The good news is that it’s easier than ever to ship a website with these base requirements of unparalleled speed and accessibility! We have Page Speed Insights, and Web Page Test, not to mention the ability to have Lighthouse perform audits with every commit in GitHub automatically as we work. Ire Aderinokun showed us how to do this not so long ago by setting up a performance budget and learning how to stick to it.
The tools to make our websites fast and accessible are here but we’re not using them. And that’s what makes me mad.
While I’m on this rant — and before I get off my particularly high horse — I think it’s important to make note of Deb Chachra’s argument that “any sufficiently advanced negligence is indistinguishable from malice.” With that in mind, it’s not just bad software design and development if a website is slow. Performance and accessibility aren’t features that can linger at the bottom of a Jira board to be considered later when it’s convenient.
Instead we must start to see inaccessible and slow websites for what they are: a form of cruelty. And if we want to build a web that is truly a World Wide Web, a place for all and everyone, a web that is accessible and fast for as many people as possible, and one that will outlive us all, then first we must make our websites something else altogether; we must make them kind.
In this article, we’ll take a look at the history of sans serif typefaces. You’ll learn what makes them great and discover some wonderful options to consider for your next project.
In the last few years, there has been a big shift in branding. Many high-profile companies have redesigned their logos and replaced classical serifs with sans serif typefaces. The popularity of social media and digital display has influenced the way we think about typefaces and brand development.
Let’s start by looking into the development of sans serif fonts, and then we’ll see what makes them great and go through a few tips when choosing one for your next project.
The History
Sans serif fonts started developing slowly before the 18th century but weren’t used widely. In 1816, William Caslon IV created a sans serif typeface called Two Lines English Egyptian, which was commissioned by a specific client.
The Figgins foundry in London released a new sans serif in 1830 that was primarily used in advertising or headings. The anatomy of the face was condensed and bold, resulting in a font that grabbed attention. At this point, sans serifs were called Grotesquedue to their “malformations”.
Later in the 1920s and 1930s, the Bauhaus popularized sans serifs as a reaction to the embellished Art Nouveau style. Bare typefaces were considered beautiful as they didn’t include unnecessary additions. Sans serifs were appreciated for their simple, clean look and high efficiency for reading. Futura, one of the most popular Geometric sans serif styles, was released in 1928. While it features strong geometric lines, Futura followed the styles of its time.
In the 1960s, the International Typographic style took over the design world by using Helvetica and Univers. This modernist movement emphasized the use of clean and minimalist layouts. Both of these fonts became examples of Neo-grotesque typefaces due to their no-nonsense anatomy. Both typefaces included extensive families that would make them suitable for anything designers would need, from headings to body copy.
Sans serif typefaces went through another evolution process in the 1970s. The overuse of neutral Neo-grotesque typefaces led to the creation of Humanist sans serifs. At this point, typefaces were lacking the human touch. Humanist fonts are inspired by traditional serifs and calligraphy. Gill Sans, for instance, includes similar forms to those found in Helvetica, but it’s less geometric. Therefore, the typeface is friendlier and more relaxed.
Legibility
Most recently, we’ve seen the rebrand of many labels switching from classic serifs to sans serif typefaces—anything from luxury brands to digital and even bank institutions. Why is sans serif so appealing?
Sleek? Check.
Sophisticated? Check.
Legible? It depends…
Many designers still believe that serifs rule the printed media world, making it easy for our eyes to follow and jump from letter to letter. Sans serifs are increasingly becoming popular as body copy, with great legible typefaces being currently developed. Sans serifs do take the win when it comes to digital displays. Our screens have improved in the last decade, and serifs tend to glare quite a bit in digital displays. We’d need to up the point size significantly to appreciate their beauty. Sans serifs are definitely legible at smaller point sizes, both printed and on screen. Flip through a magazine and you’ll notice that the picture captions and credits are mostly set in sans serifs. They are crisp.
Personality
In the last few years, many trends came and went away faster than ever. It is difficult to keep up with the increasing use of social media. Aside from being clean and modern, sans serif typefaces offer that trend fluidity that brands are looking for. It has become a priority to accommodate clients and their personality.
Serif fonts tend to be conservative, classic, and are often classified as feminine. Sans serifs, on the other hand, are more gender neutral and highly adaptable. The redesign of many logos is not only trend-led, it goes hand in hand with the cultural and political climate we’ve been experiencing in the last decade.
Choosing the right font is one of the most important parts of the design process. A thoughtfully chosen typeface can be the foundation that brings a brand together. If you’re looking for that cool, sophisticated look and feel, take a look at a few of our suggestions. Envato Elements has an extensive font library that can help you choose the one typeface for your next project.
Bw Nista is a neutral and clean sans serif font. The anatomy contains clean shapes with quirky details that make it different from regular neo-grotesque fonts. The font comes in seven weights, making it highly functional for any layout or brand development project.
Gorga is a humanist sans serif font. It has playful curves, which separate it from cold sans serifs. The package comes with three different weights and their respective italic versions. Gorga Grotesque supports multiple languages.
Noiche is a mix of neo-grotesque and a geometric sans serif. The small details like the angle cut on the vertical strokes give it an edgy personality. The font comes in seven different weights and italics. This is perfect if you plan on covering a lot of ground with a single awesome font.
Config is a large family that includes ten weights, italics, and 600 glyphs that support multiple European languages. The font is a condensed geometric sans serif with circular forms. This font has been carefully designed, and all aspects of each character have been considered. The font includes alternates for specific characters that make them interesting when used on display text.
Quadran is the right balance of neo-grotesque and geometric sans serif. This contemporary font is contemporary while still maintaining a few classic attributes. The package includes multiple font weights and supports many languages.
This humanist sans serif is inspired by a reverse pen-head style. This package is available with nine weights, from thin to black. This highly legible font is suitable for display text and body text. The discretionary ligatures are beautifully designed and can replace any of the common ligature combinations.
Inspired by grotesque fonts, Monty adds a softness by using round curves. This versatile font has a quirky personality that makes it perfect for branding. It’s clean, sophisticated, and fun. The package includes four weights and supports multiple languages.
Bergen Sans is inspired by the Bauhaus aesthetics. This contemporary sans serif is geometric and clean. The font supports multiple languages and has many OpenType features. It is a small font family, but each font is carefully crafted, including many glyphs in different languages.
Liber is inspired by the geometric forms of Avenir and Futura. The contemporary geometric characters are built on geometric circles and squares while taking roman text fonts into consideration. This modern font includes ten weights, making it suitable for brands and layouts leaning on a single font.
RNS Sanz is a neutral, clean, and contemporary sans serif. The open counters on each character make it highly legible and suitable for body copy. RNS Sanz is versatile and is sure to adapt to any theme. The family contains seven weights and standard and tabular figures.
It’s important to note that sans serif fonts aren’t the right fit for every brand. While they are currently trendy and pretty much everywhere, those shouldn’t be the only reasons for a rebrand.
When you are redesigning or designing a logo from scratch, examine the brand very carefully. Be specific about your brand, what its personality is, and what you want it to communicate. Think of what can set your brand apart and how your logo can stand out from the same trendy crowd. If you do end up choosing a sans serif font, make sure that you are balancing your design with originality.
Trends tend to be a reaction to what came before. The modernist styles developed in the 20th century were a reaction to Art Nouveau. Art Nouveau was characterized by organic forms and highly stylized elements, while the new modernist styles were composed of abstract compositions, using basic graphic elements and colors. As we see sans serifs becoming trendy, we’re sure to see a reaction to it in the next few years.
In this article, we’ll take a look at the history of sans serif typefaces. You’ll learn what makes them great and discover some wonderful options to consider for your next project.
In the last few years, there has been a big shift in branding. Many high-profile companies have redesigned their logos and replaced classical serifs with sans serif typefaces. The popularity of social media and digital display has influenced the way we think about typefaces and brand development.
Let’s start by looking into the development of sans serif fonts, and then we’ll see what makes them great and go through a few tips when choosing one for your next project.
The History
Sans serif fonts started developing slowly before the 18th century but weren’t used widely. In 1816, William Caslon IV created a sans serif typeface called Two Lines English Egyptian, which was commissioned by a specific client.
The Figgins foundry in London released a new sans serif in 1830 that was primarily used in advertising or headings. The anatomy of the face was condensed and bold, resulting in a font that grabbed attention. At this point, sans serifs were called Grotesquedue to their “malformations”.
Later in the 1920s and 1930s, the Bauhaus popularized sans serifs as a reaction to the embellished Art Nouveau style. Bare typefaces were considered beautiful as they didn’t include unnecessary additions. Sans serifs were appreciated for their simple, clean look and high efficiency for reading. Futura, one of the most popular Geometric sans serif styles, was released in 1928. While it features strong geometric lines, Futura followed the styles of its time.
In the 1960s, the International Typographic style took over the design world by using Helvetica and Univers. This modernist movement emphasized the use of clean and minimalist layouts. Both of these fonts became examples of Neo-grotesque typefaces due to their no-nonsense anatomy. Both typefaces included extensive families that would make them suitable for anything designers would need, from headings to body copy.
Sans serif typefaces went through another evolution process in the 1970s. The overuse of neutral Neo-grotesque typefaces led to the creation of Humanist sans serifs. At this point, typefaces were lacking the human touch. Humanist fonts are inspired by traditional serifs and calligraphy. Gill Sans, for instance, includes similar forms to those found in Helvetica, but it’s less geometric. Therefore, the typeface is friendlier and more relaxed.
Legibility
Most recently, we’ve seen the rebrand of many labels switching from classic serifs to sans serif typefaces—anything from luxury brands to digital and even bank institutions. Why is sans serif so appealing?
Sleek? Check.
Sophisticated? Check.
Legible? It depends…
Many designers still believe that serifs rule the printed media world, making it easy for our eyes to follow and jump from letter to letter. Sans serifs are increasingly becoming popular as body copy, with great legible typefaces being currently developed. Sans serifs do take the win when it comes to digital displays. Our screens have improved in the last decade, and serifs tend to glare quite a bit in digital displays. We’d need to up the point size significantly to appreciate their beauty. Sans serifs are definitely legible at smaller point sizes, both printed and on screen. Flip through a magazine and you’ll notice that the picture captions and credits are mostly set in sans serifs. They are crisp.
Personality
In the last few years, many trends came and went away faster than ever. It is difficult to keep up with the increasing use of social media. Aside from being clean and modern, sans serif typefaces offer that trend fluidity that brands are looking for. It has become a priority to accommodate clients and their personality.
Serif fonts tend to be conservative, classic, and are often classified as feminine. Sans serifs, on the other hand, are more gender neutral and highly adaptable. The redesign of many logos is not only trend-led, it goes hand in hand with the cultural and political climate we’ve been experiencing in the last decade.
Choosing the right font is one of the most important parts of the design process. A thoughtfully chosen typeface can be the foundation that brings a brand together. If you’re looking for that cool, sophisticated look and feel, take a look at a few of our suggestions. Envato Elements has an extensive font library that can help you choose the one typeface for your next project.
Bw Nista is a neutral and clean sans serif font. The anatomy contains clean shapes with quirky details that make it different from regular neo-grotesque fonts. The font comes in seven weights, making it highly functional for any layout or brand development project.
Gorga is a humanist sans serif font. It has playful curves, which separate it from cold sans serifs. The package comes with three different weights and their respective italic versions. Gorga Grotesque supports multiple languages.
Noiche is a mix of neo-grotesque and a geometric sans serif. The small details like the angle cut on the vertical strokes give it an edgy personality. The font comes in seven different weights and italics. This is perfect if you plan on covering a lot of ground with a single awesome font.
Config is a large family that includes ten weights, italics, and 600 glyphs that support multiple European languages. The font is a condensed geometric sans serif with circular forms. This font has been carefully designed, and all aspects of each character have been considered. The font includes alternates for specific characters that make them interesting when used on display text.
Quadran is the right balance of neo-grotesque and geometric sans serif. This contemporary font is contemporary while still maintaining a few classic attributes. The package includes multiple font weights and supports many languages.
This humanist sans serif is inspired by a reverse pen-head style. This package is available with nine weights, from thin to black. This highly legible font is suitable for display text and body text. The discretionary ligatures are beautifully designed and can replace any of the common ligature combinations.
Inspired by grotesque fonts, Monty adds a softness by using round curves. This versatile font has a quirky personality that makes it perfect for branding. It’s clean, sophisticated, and fun. The package includes four weights and supports multiple languages.
Bergen Sans is inspired by the Bauhaus aesthetics. This contemporary sans serif is geometric and clean. The font supports multiple languages and has many OpenType features. It is a small font family, but each font is carefully crafted, including many glyphs in different languages.
Liber is inspired by the geometric forms of Avenir and Futura. The contemporary geometric characters are built on geometric circles and squares while taking roman text fonts into consideration. This modern font includes ten weights, making it suitable for brands and layouts leaning on a single font.
RNS Sanz is a neutral, clean, and contemporary sans serif. The open counters on each character make it highly legible and suitable for body copy. RNS Sanz is versatile and is sure to adapt to any theme. The family contains seven weights and standard and tabular figures.
It’s important to note that sans serif fonts aren’t the right fit for every brand. While they are currently trendy and pretty much everywhere, those shouldn’t be the only reasons for a rebrand.
When you are redesigning or designing a logo from scratch, examine the brand very carefully. Be specific about your brand, what its personality is, and what you want it to communicate. Think of what can set your brand apart and how your logo can stand out from the same trendy crowd. If you do end up choosing a sans serif font, make sure that you are balancing your design with originality.
Trends tend to be a reaction to what came before. The modernist styles developed in the 20th century were a reaction to Art Nouveau. Art Nouveau was characterized by organic forms and highly stylized elements, while the new modernist styles were composed of abstract compositions, using basic graphic elements and colors. As we see sans serifs becoming trendy, we’re sure to see a reaction to it in the next few years.
In this article, we’ll take a look at the history of sans serif typefaces. You’ll learn what makes them great and discover some wonderful options to consider for your next project.
In the last few years, there has been a big shift in branding. Many high-profile companies have redesigned their logos and replaced classical serifs with sans serif typefaces. The popularity of social media and digital display has influenced the way we think about typefaces and brand development.
Let’s start by looking into the development of sans serif fonts, and then we’ll see what makes them great and go through a few tips when choosing one for your next project.
The History
Sans serif fonts started developing slowly before the 18th century but weren’t used widely. In 1816, William Caslon IV created a sans serif typeface called Two Lines English Egyptian, which was commissioned by a specific client.
The Figgins foundry in London released a new sans serif in 1830 that was primarily used in advertising or headings. The anatomy of the face was condensed and bold, resulting in a font that grabbed attention. At this point, sans serifs were called Grotesquedue to their “malformations”.
Later in the 1920s and 1930s, the Bauhaus popularized sans serifs as a reaction to the embellished Art Nouveau style. Bare typefaces were considered beautiful as they didn’t include unnecessary additions. Sans serifs were appreciated for their simple, clean look and high efficiency for reading. Futura, one of the most popular Geometric sans serif styles, was released in 1928. While it features strong geometric lines, Futura followed the styles of its time.
In the 1960s, the International Typographic style took over the design world by using Helvetica and Univers. This modernist movement emphasized the use of clean and minimalist layouts. Both of these fonts became examples of Neo-grotesque typefaces due to their no-nonsense anatomy. Both typefaces included extensive families that would make them suitable for anything designers would need, from headings to body copy.
Sans serif typefaces went through another evolution process in the 1970s. The overuse of neutral Neo-grotesque typefaces led to the creation of Humanist sans serifs. At this point, typefaces were lacking the human touch. Humanist fonts are inspired by traditional serifs and calligraphy. Gill Sans, for instance, includes similar forms to those found in Helvetica, but it’s less geometric. Therefore, the typeface is friendlier and more relaxed.
Legibility
Most recently, we’ve seen the rebrand of many labels switching from classic serifs to sans serif typefaces—anything from luxury brands to digital and even bank institutions. Why is sans serif so appealing?
Sleek? Check.
Sophisticated? Check.
Legible? It depends…
Many designers still believe that serifs rule the printed media world, making it easy for our eyes to follow and jump from letter to letter. Sans serifs are increasingly becoming popular as body copy, with great legible typefaces being currently developed. Sans serifs do take the win when it comes to digital displays. Our screens have improved in the last decade, and serifs tend to glare quite a bit in digital displays. We’d need to up the point size significantly to appreciate their beauty. Sans serifs are definitely legible at smaller point sizes, both printed and on screen. Flip through a magazine and you’ll notice that the picture captions and credits are mostly set in sans serifs. They are crisp.
Personality
In the last few years, many trends came and went away faster than ever. It is difficult to keep up with the increasing use of social media. Aside from being clean and modern, sans serif typefaces offer that trend fluidity that brands are looking for. It has become a priority to accommodate clients and their personality.
Serif fonts tend to be conservative, classic, and are often classified as feminine. Sans serifs, on the other hand, are more gender neutral and highly adaptable. The redesign of many logos is not only trend-led, it goes hand in hand with the cultural and political climate we’ve been experiencing in the last decade.
Choosing the right font is one of the most important parts of the design process. A thoughtfully chosen typeface can be the foundation that brings a brand together. If you’re looking for that cool, sophisticated look and feel, take a look at a few of our suggestions. Envato Elements has an extensive font library that can help you choose the one typeface for your next project.
Bw Nista is a neutral and clean sans serif font. The anatomy contains clean shapes with quirky details that make it different from regular neo-grotesque fonts. The font comes in seven weights, making it highly functional for any layout or brand development project.
Gorga is a humanist sans serif font. It has playful curves, which separate it from cold sans serifs. The package comes with three different weights and their respective italic versions. Gorga Grotesque supports multiple languages.
Noiche is a mix of neo-grotesque and a geometric sans serif. The small details like the angle cut on the vertical strokes give it an edgy personality. The font comes in seven different weights and italics. This is perfect if you plan on covering a lot of ground with a single awesome font.
Config is a large family that includes ten weights, italics, and 600 glyphs that support multiple European languages. The font is a condensed geometric sans serif with circular forms. This font has been carefully designed, and all aspects of each character have been considered. The font includes alternates for specific characters that make them interesting when used on display text.
Quadran is the right balance of neo-grotesque and geometric sans serif. This contemporary font is contemporary while still maintaining a few classic attributes. The package includes multiple font weights and supports many languages.
This humanist sans serif is inspired by a reverse pen-head style. This package is available with nine weights, from thin to black. This highly legible font is suitable for display text and body text. The discretionary ligatures are beautifully designed and can replace any of the common ligature combinations.
Inspired by grotesque fonts, Monty adds a softness by using round curves. This versatile font has a quirky personality that makes it perfect for branding. It’s clean, sophisticated, and fun. The package includes four weights and supports multiple languages.
Bergen Sans is inspired by the Bauhaus aesthetics. This contemporary sans serif is geometric and clean. The font supports multiple languages and has many OpenType features. It is a small font family, but each font is carefully crafted, including many glyphs in different languages.
Liber is inspired by the geometric forms of Avenir and Futura. The contemporary geometric characters are built on geometric circles and squares while taking roman text fonts into consideration. This modern font includes ten weights, making it suitable for brands and layouts leaning on a single font.
RNS Sanz is a neutral, clean, and contemporary sans serif. The open counters on each character make it highly legible and suitable for body copy. RNS Sanz is versatile and is sure to adapt to any theme. The family contains seven weights and standard and tabular figures.
It’s important to note that sans serif fonts aren’t the right fit for every brand. While they are currently trendy and pretty much everywhere, those shouldn’t be the only reasons for a rebrand.
When you are redesigning or designing a logo from scratch, examine the brand very carefully. Be specific about your brand, what its personality is, and what you want it to communicate. Think of what can set your brand apart and how your logo can stand out from the same trendy crowd. If you do end up choosing a sans serif font, make sure that you are balancing your design with originality.
Trends tend to be a reaction to what came before. The modernist styles developed in the 20th century were a reaction to Art Nouveau. Art Nouveau was characterized by organic forms and highly stylized elements, while the new modernist styles were composed of abstract compositions, using basic graphic elements and colors. As we see sans serifs becoming trendy, we’re sure to see a reaction to it in the next few years.
In this article, we’ll take a look at the history of sans serif typefaces. You’ll learn what makes them great and discover some wonderful options to consider for your next project.
In the last few years, there has been a big shift in branding. Many high-profile companies have redesigned their logos and replaced classical serifs with sans serif typefaces. The popularity of social media and digital display has influenced the way we think about typefaces and brand development.
Let’s start by looking into the development of sans serif fonts, and then we’ll see what makes them great and go through a few tips when choosing one for your next project.
The History
Sans serif fonts started developing slowly before the 18th century but weren’t used widely. In 1816, William Caslon IV created a sans serif typeface called Two Lines English Egyptian, which was commissioned by a specific client.
The Figgins foundry in London released a new sans serif in 1830 that was primarily used in advertising or headings. The anatomy of the face was condensed and bold, resulting in a font that grabbed attention. At this point, sans serifs were called Grotesquedue to their “malformations”.
Later in the 1920s and 1930s, the Bauhaus popularized sans serifs as a reaction to the embellished Art Nouveau style. Bare typefaces were considered beautiful as they didn’t include unnecessary additions. Sans serifs were appreciated for their simple, clean look and high efficiency for reading. Futura, one of the most popular Geometric sans serif styles, was released in 1928. While it features strong geometric lines, Futura followed the styles of its time.
In the 1960s, the International Typographic style took over the design world by using Helvetica and Univers. This modernist movement emphasized the use of clean and minimalist layouts. Both of these fonts became examples of Neo-grotesque typefaces due to their no-nonsense anatomy. Both typefaces included extensive families that would make them suitable for anything designers would need, from headings to body copy.
Sans serif typefaces went through another evolution process in the 1970s. The overuse of neutral Neo-grotesque typefaces led to the creation of Humanist sans serifs. At this point, typefaces were lacking the human touch. Humanist fonts are inspired by traditional serifs and calligraphy. Gill Sans, for instance, includes similar forms to those found in Helvetica, but it’s less geometric. Therefore, the typeface is friendlier and more relaxed.
Legibility
Most recently, we’ve seen the rebrand of many labels switching from classic serifs to sans serif typefaces—anything from luxury brands to digital and even bank institutions. Why is sans serif so appealing?
Sleek? Check.
Sophisticated? Check.
Legible? It depends…
Many designers still believe that serifs rule the printed media world, making it easy for our eyes to follow and jump from letter to letter. Sans serifs are increasingly becoming popular as body copy, with great legible typefaces being currently developed. Sans serifs do take the win when it comes to digital displays. Our screens have improved in the last decade, and serifs tend to glare quite a bit in digital displays. We’d need to up the point size significantly to appreciate their beauty. Sans serifs are definitely legible at smaller point sizes, both printed and on screen. Flip through a magazine and you’ll notice that the picture captions and credits are mostly set in sans serifs. They are crisp.
Personality
In the last few years, many trends came and went away faster than ever. It is difficult to keep up with the increasing use of social media. Aside from being clean and modern, sans serif typefaces offer that trend fluidity that brands are looking for. It has become a priority to accommodate clients and their personality.
Serif fonts tend to be conservative, classic, and are often classified as feminine. Sans serifs, on the other hand, are more gender neutral and highly adaptable. The redesign of many logos is not only trend-led, it goes hand in hand with the cultural and political climate we’ve been experiencing in the last decade.
Choosing the right font is one of the most important parts of the design process. A thoughtfully chosen typeface can be the foundation that brings a brand together. If you’re looking for that cool, sophisticated look and feel, take a look at a few of our suggestions. Envato Elements has an extensive font library that can help you choose the one typeface for your next project.
Bw Nista is a neutral and clean sans serif font. The anatomy contains clean shapes with quirky details that make it different from regular neo-grotesque fonts. The font comes in seven weights, making it highly functional for any layout or brand development project.
Gorga is a humanist sans serif font. It has playful curves, which separate it from cold sans serifs. The package comes with three different weights and their respective italic versions. Gorga Grotesque supports multiple languages.
Noiche is a mix of neo-grotesque and a geometric sans serif. The small details like the angle cut on the vertical strokes give it an edgy personality. The font comes in seven different weights and italics. This is perfect if you plan on covering a lot of ground with a single awesome font.
Config is a large family that includes ten weights, italics, and 600 glyphs that support multiple European languages. The font is a condensed geometric sans serif with circular forms. This font has been carefully designed, and all aspects of each character have been considered. The font includes alternates for specific characters that make them interesting when used on display text.
Quadran is the right balance of neo-grotesque and geometric sans serif. This contemporary font is contemporary while still maintaining a few classic attributes. The package includes multiple font weights and supports many languages.
This humanist sans serif is inspired by a reverse pen-head style. This package is available with nine weights, from thin to black. This highly legible font is suitable for display text and body text. The discretionary ligatures are beautifully designed and can replace any of the common ligature combinations.
Inspired by grotesque fonts, Monty adds a softness by using round curves. This versatile font has a quirky personality that makes it perfect for branding. It’s clean, sophisticated, and fun. The package includes four weights and supports multiple languages.
Bergen Sans is inspired by the Bauhaus aesthetics. This contemporary sans serif is geometric and clean. The font supports multiple languages and has many OpenType features. It is a small font family, but each font is carefully crafted, including many glyphs in different languages.
Liber is inspired by the geometric forms of Avenir and Futura. The contemporary geometric characters are built on geometric circles and squares while taking roman text fonts into consideration. This modern font includes ten weights, making it suitable for brands and layouts leaning on a single font.
RNS Sanz is a neutral, clean, and contemporary sans serif. The open counters on each character make it highly legible and suitable for body copy. RNS Sanz is versatile and is sure to adapt to any theme. The family contains seven weights and standard and tabular figures.
It’s important to note that sans serif fonts aren’t the right fit for every brand. While they are currently trendy and pretty much everywhere, those shouldn’t be the only reasons for a rebrand.
When you are redesigning or designing a logo from scratch, examine the brand very carefully. Be specific about your brand, what its personality is, and what you want it to communicate. Think of what can set your brand apart and how your logo can stand out from the same trendy crowd. If you do end up choosing a sans serif font, make sure that you are balancing your design with originality.
Trends tend to be a reaction to what came before. The modernist styles developed in the 20th century were a reaction to Art Nouveau. Art Nouveau was characterized by organic forms and highly stylized elements, while the new modernist styles were composed of abstract compositions, using basic graphic elements and colors. As we see sans serifs becoming trendy, we’re sure to see a reaction to it in the next few years.
In this article, we’ll take a look at the history of sans serif typefaces. You’ll learn what makes them great and discover some wonderful options to consider for your next project.
In the last few years, there has been a big shift in branding. Many high-profile companies have redesigned their logos and replaced classical serifs with sans serif typefaces. The popularity of social media and digital display has influenced the way we think about typefaces and brand development.
Let’s start by looking into the development of sans serif fonts, and then we’ll see what makes them great and go through a few tips when choosing one for your next project.
The History
Sans serif fonts started developing slowly before the 18th century but weren’t used widely. In 1816, William Caslon IV created a sans serif typeface called Two Lines English Egyptian, which was commissioned by a specific client.
The Figgins foundry in London released a new sans serif in 1830 that was primarily used in advertising or headings. The anatomy of the face was condensed and bold, resulting in a font that grabbed attention. At this point, sans serifs were called Grotesquedue to their “malformations”.
Later in the 1920s and 1930s, the Bauhaus popularized sans serifs as a reaction to the embellished Art Nouveau style. Bare typefaces were considered beautiful as they didn’t include unnecessary additions. Sans serifs were appreciated for their simple, clean look and high efficiency for reading. Futura, one of the most popular Geometric sans serif styles, was released in 1928. While it features strong geometric lines, Futura followed the styles of its time.
In the 1960s, the International Typographic style took over the design world by using Helvetica and Univers. This modernist movement emphasized the use of clean and minimalist layouts. Both of these fonts became examples of Neo-grotesque typefaces due to their no-nonsense anatomy. Both typefaces included extensive families that would make them suitable for anything designers would need, from headings to body copy.
Sans serif typefaces went through another evolution process in the 1970s. The overuse of neutral Neo-grotesque typefaces led to the creation of Humanist sans serifs. At this point, typefaces were lacking the human touch. Humanist fonts are inspired by traditional serifs and calligraphy. Gill Sans, for instance, includes similar forms to those found in Helvetica, but it’s less geometric. Therefore, the typeface is friendlier and more relaxed.
Legibility
Most recently, we’ve seen the rebrand of many labels switching from classic serifs to sans serif typefaces—anything from luxury brands to digital and even bank institutions. Why is sans serif so appealing?
Sleek? Check.
Sophisticated? Check.
Legible? It depends…
Many designers still believe that serifs rule the printed media world, making it easy for our eyes to follow and jump from letter to letter. Sans serifs are increasingly becoming popular as body copy, with great legible typefaces being currently developed. Sans serifs do take the win when it comes to digital displays. Our screens have improved in the last decade, and serifs tend to glare quite a bit in digital displays. We’d need to up the point size significantly to appreciate their beauty. Sans serifs are definitely legible at smaller point sizes, both printed and on screen. Flip through a magazine and you’ll notice that the picture captions and credits are mostly set in sans serifs. They are crisp.
Personality
In the last few years, many trends came and went away faster than ever. It is difficult to keep up with the increasing use of social media. Aside from being clean and modern, sans serif typefaces offer that trend fluidity that brands are looking for. It has become a priority to accommodate clients and their personality.
Serif fonts tend to be conservative, classic, and are often classified as feminine. Sans serifs, on the other hand, are more gender neutral and highly adaptable. The redesign of many logos is not only trend-led, it goes hand in hand with the cultural and political climate we’ve been experiencing in the last decade.
Choosing the right font is one of the most important parts of the design process. A thoughtfully chosen typeface can be the foundation that brings a brand together. If you’re looking for that cool, sophisticated look and feel, take a look at a few of our suggestions. Envato Elements has an extensive font library that can help you choose the one typeface for your next project.
Bw Nista is a neutral and clean sans serif font. The anatomy contains clean shapes with quirky details that make it different from regular neo-grotesque fonts. The font comes in seven weights, making it highly functional for any layout or brand development project.
Gorga is a humanist sans serif font. It has playful curves, which separate it from cold sans serifs. The package comes with three different weights and their respective italic versions. Gorga Grotesque supports multiple languages.
Noiche is a mix of neo-grotesque and a geometric sans serif. The small details like the angle cut on the vertical strokes give it an edgy personality. The font comes in seven different weights and italics. This is perfect if you plan on covering a lot of ground with a single awesome font.
Config is a large family that includes ten weights, italics, and 600 glyphs that support multiple European languages. The font is a condensed geometric sans serif with circular forms. This font has been carefully designed, and all aspects of each character have been considered. The font includes alternates for specific characters that make them interesting when used on display text.
Quadran is the right balance of neo-grotesque and geometric sans serif. This contemporary font is contemporary while still maintaining a few classic attributes. The package includes multiple font weights and supports many languages.
This humanist sans serif is inspired by a reverse pen-head style. This package is available with nine weights, from thin to black. This highly legible font is suitable for display text and body text. The discretionary ligatures are beautifully designed and can replace any of the common ligature combinations.
Inspired by grotesque fonts, Monty adds a softness by using round curves. This versatile font has a quirky personality that makes it perfect for branding. It’s clean, sophisticated, and fun. The package includes four weights and supports multiple languages.
Bergen Sans is inspired by the Bauhaus aesthetics. This contemporary sans serif is geometric and clean. The font supports multiple languages and has many OpenType features. It is a small font family, but each font is carefully crafted, including many glyphs in different languages.
Liber is inspired by the geometric forms of Avenir and Futura. The contemporary geometric characters are built on geometric circles and squares while taking roman text fonts into consideration. This modern font includes ten weights, making it suitable for brands and layouts leaning on a single font.
RNS Sanz is a neutral, clean, and contemporary sans serif. The open counters on each character make it highly legible and suitable for body copy. RNS Sanz is versatile and is sure to adapt to any theme. The family contains seven weights and standard and tabular figures.
It’s important to note that sans serif fonts aren’t the right fit for every brand. While they are currently trendy and pretty much everywhere, those shouldn’t be the only reasons for a rebrand.
When you are redesigning or designing a logo from scratch, examine the brand very carefully. Be specific about your brand, what its personality is, and what you want it to communicate. Think of what can set your brand apart and how your logo can stand out from the same trendy crowd. If you do end up choosing a sans serif font, make sure that you are balancing your design with originality.
Trends tend to be a reaction to what came before. The modernist styles developed in the 20th century were a reaction to Art Nouveau. Art Nouveau was characterized by organic forms and highly stylized elements, while the new modernist styles were composed of abstract compositions, using basic graphic elements and colors. As we see sans serifs becoming trendy, we’re sure to see a reaction to it in the next few years.
In this article, we’ll take a look at the history of sans serif typefaces. You’ll learn what makes them great and discover some wonderful options to consider for your next project.
In the last few years, there has been a big shift in branding. Many high-profile companies have redesigned their logos and replaced classical serifs with sans serif typefaces. The popularity of social media and digital display has influenced the way we think about typefaces and brand development.
Let’s start by looking into the development of sans serif fonts, and then we’ll see what makes them great and go through a few tips when choosing one for your next project.
The History
Sans serif fonts started developing slowly before the 18th century but weren’t used widely. In 1816, William Caslon IV created a sans serif typeface called Two Lines English Egyptian, which was commissioned by a specific client.
The Figgins foundry in London released a new sans serif in 1830 that was primarily used in advertising or headings. The anatomy of the face was condensed and bold, resulting in a font that grabbed attention. At this point, sans serifs were called Grotesquedue to their “malformations”.
Later in the 1920s and 1930s, the Bauhaus popularized sans serifs as a reaction to the embellished Art Nouveau style. Bare typefaces were considered beautiful as they didn’t include unnecessary additions. Sans serifs were appreciated for their simple, clean look and high efficiency for reading. Futura, one of the most popular Geometric sans serif styles, was released in 1928. While it features strong geometric lines, Futura followed the styles of its time.
In the 1960s, the International Typographic style took over the design world by using Helvetica and Univers. This modernist movement emphasized the use of clean and minimalist layouts. Both of these fonts became examples of Neo-grotesque typefaces due to their no-nonsense anatomy. Both typefaces included extensive families that would make them suitable for anything designers would need, from headings to body copy.
Sans serif typefaces went through another evolution process in the 1970s. The overuse of neutral Neo-grotesque typefaces led to the creation of Humanist sans serifs. At this point, typefaces were lacking the human touch. Humanist fonts are inspired by traditional serifs and calligraphy. Gill Sans, for instance, includes similar forms to those found in Helvetica, but it’s less geometric. Therefore, the typeface is friendlier and more relaxed.
Legibility
Most recently, we’ve seen the rebrand of many labels switching from classic serifs to sans serif typefaces—anything from luxury brands to digital and even bank institutions. Why is sans serif so appealing?
Sleek? Check.
Sophisticated? Check.
Legible? It depends…
Many designers still believe that serifs rule the printed media world, making it easy for our eyes to follow and jump from letter to letter. Sans serifs are increasingly becoming popular as body copy, with great legible typefaces being currently developed. Sans serifs do take the win when it comes to digital displays. Our screens have improved in the last decade, and serifs tend to glare quite a bit in digital displays. We’d need to up the point size significantly to appreciate their beauty. Sans serifs are definitely legible at smaller point sizes, both printed and on screen. Flip through a magazine and you’ll notice that the picture captions and credits are mostly set in sans serifs. They are crisp.
Personality
In the last few years, many trends came and went away faster than ever. It is difficult to keep up with the increasing use of social media. Aside from being clean and modern, sans serif typefaces offer that trend fluidity that brands are looking for. It has become a priority to accommodate clients and their personality.
Serif fonts tend to be conservative, classic, and are often classified as feminine. Sans serifs, on the other hand, are more gender neutral and highly adaptable. The redesign of many logos is not only trend-led, it goes hand in hand with the cultural and political climate we’ve been experiencing in the last decade.
Choosing the right font is one of the most important parts of the design process. A thoughtfully chosen typeface can be the foundation that brings a brand together. If you’re looking for that cool, sophisticated look and feel, take a look at a few of our suggestions. Envato Elements has an extensive font library that can help you choose the one typeface for your next project.
Bw Nista is a neutral and clean sans serif font. The anatomy contains clean shapes with quirky details that make it different from regular neo-grotesque fonts. The font comes in seven weights, making it highly functional for any layout or brand development project.
Gorga is a humanist sans serif font. It has playful curves, which separate it from cold sans serifs. The package comes with three different weights and their respective italic versions. Gorga Grotesque supports multiple languages.
Noiche is a mix of neo-grotesque and a geometric sans serif. The small details like the angle cut on the vertical strokes give it an edgy personality. The font comes in seven different weights and italics. This is perfect if you plan on covering a lot of ground with a single awesome font.
Config is a large family that includes ten weights, italics, and 600 glyphs that support multiple European languages. The font is a condensed geometric sans serif with circular forms. This font has been carefully designed, and all aspects of each character have been considered. The font includes alternates for specific characters that make them interesting when used on display text.
Quadran is the right balance of neo-grotesque and geometric sans serif. This contemporary font is contemporary while still maintaining a few classic attributes. The package includes multiple font weights and supports many languages.
This humanist sans serif is inspired by a reverse pen-head style. This package is available with nine weights, from thin to black. This highly legible font is suitable for display text and body text. The discretionary ligatures are beautifully designed and can replace any of the common ligature combinations.
Inspired by grotesque fonts, Monty adds a softness by using round curves. This versatile font has a quirky personality that makes it perfect for branding. It’s clean, sophisticated, and fun. The package includes four weights and supports multiple languages.
Bergen Sans is inspired by the Bauhaus aesthetics. This contemporary sans serif is geometric and clean. The font supports multiple languages and has many OpenType features. It is a small font family, but each font is carefully crafted, including many glyphs in different languages.
Liber is inspired by the geometric forms of Avenir and Futura. The contemporary geometric characters are built on geometric circles and squares while taking roman text fonts into consideration. This modern font includes ten weights, making it suitable for brands and layouts leaning on a single font.
RNS Sanz is a neutral, clean, and contemporary sans serif. The open counters on each character make it highly legible and suitable for body copy. RNS Sanz is versatile and is sure to adapt to any theme. The family contains seven weights and standard and tabular figures.
It’s important to note that sans serif fonts aren’t the right fit for every brand. While they are currently trendy and pretty much everywhere, those shouldn’t be the only reasons for a rebrand.
When you are redesigning or designing a logo from scratch, examine the brand very carefully. Be specific about your brand, what its personality is, and what you want it to communicate. Think of what can set your brand apart and how your logo can stand out from the same trendy crowd. If you do end up choosing a sans serif font, make sure that you are balancing your design with originality.
Trends tend to be a reaction to what came before. The modernist styles developed in the 20th century were a reaction to Art Nouveau. Art Nouveau was characterized by organic forms and highly stylized elements, while the new modernist styles were composed of abstract compositions, using basic graphic elements and colors. As we see sans serifs becoming trendy, we’re sure to see a reaction to it in the next few years.