Noet that the tail of the y is much more like Helvitica than Tahoma or Verdana.Īnother font that is similar to Helvetica, but with a straight legged R. Very common-this page uses Verdana as its body type.Īnother Microsoft font, Tahoma is extremely similar to Verdana, but has a narrower body, less generous counters, and tighter letter spacing.Īnother Helvetica follower, Geneva was developed by Mac, and has rounder bowls, and is lighter than Helvetica. Opinions vary.Ĭommisioned by Microsoft to work on the web, althought it's often used in print as well. The most common sans-serif font ever, it's either the pinnacle of typographic design or an abomination of Nature. One of the most common of the truly ugly typefaces.ĭistinctive pointy serifs, especially on the numbers. High contrast between thin and thick strokes, angular and very thin serifsĪnother example of extreme contrast between thick and thin strokes, but not quite as extreme as Didot.Ī monospaced, slab serif (rounded), commonly used in screenplays and government work. Note the looping Q.Ī very popular font, its calligraphic nature mimics the use of a broad nib pen. Long extenders and top serifs have a downward slope.Ī common font for reading textbooks in the early part of the 20th century. Notice the small bowl of the a and the small eye of the e. Note the low x-height and the slope of e's bar. Note the "scooped" top of the A, and the differences in the Q and the ears of the g. Notable for the upward ear of the lower-case g and the shape of the dots.Ī newer version of Caslon.
#WHAT IS THAT THICK ROUNDED FONT FOR NUMBERS HOW TO#
Start by looking at all of these and start thinking about how to distinguish them. Instead, they’re ideal for letter- and word-marks that are more economical with the letter ‘c’.ĭecorative Fonts - Moon Star, Circus, Builder, Starfish etc.These are just a few of the most common fonts you will encounter when working with type. Decorative fonts are rarely used for long strings of text. Most decorative types are useful for a variety of industries and needs, as they are generally tailored to specific companies. Script Fonts - George Bickham, Kuenstler Script, Snell Roundhand Script, Monopola Script etc.ĭecorative, or display fonts forgo conventions in favor of a unique and appealing typeface. Some Greek alphabet typefaces, especially historically, have been a closer simulation of handwriting. They are generally used for display or trade printing, rather than for extended body text in the Latin alphabet. Script typefaces are based upon the varied and often fluid stroke created by handwriting. Slab serif Fonts - Courier, Rockwell, Clarendon, Egyptienne, Beton Bold etc. Some such as Memphis and Rockwell have a geometric design with minimal variation in stroke width: they are sometimes described as sans-serif fonts with added serifs. Slab serifs form a large and varied genre. Slab serifs were invented in and most popular during the nineteenth century. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier). In typography, a slab serif typeface is a type of serif typeface characterized by thick, block-like serifs. Sans Serif Fonts - Helvetica, Univers, ITC Avant Garde, Brandon Grotesque, Gotham, Avenir, Century Gothic etc. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. Sans-serif fonts have become the most prevalent for display of text on computer screens.
Sans-serif fonts tend to have less stroke width variation than serif fonts. In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes.
Serif Fonts - Times New Roman, Bodoni, Bembo, Garamond, Galliard, Granjon, Goudy Old Style, Minion, Palatino etc. Some typography sources refer to sans-serif typefaces as grotesque or Gothic and serif typefaces as roman. A typeface or font family making use of serifs is called a serif typeface and a typeface that does not include them is a sans-serif one. In typography, a serif is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular font or family of fonts.