Beautiful website design is due to many factors. Just one of these is the way the typeface is displayed. Designers and artists are aware of the increasing demand for attractive fonts, so they have created a large assortment of market-ready fonts for professionals and the general public alike.
In spite of the wide assortment of fonts that can be chosen, every website layout is an individual artistic experience for the viewer. It’s important to match the right font with the right design so that the entire effect can be an appealing one.
Though you may like the look of a specific font, it’s important not to overuse it in your designs. Optical variety is an important element in beautiful artistic design. Fortunately, many stylish fonts have been created, so you can vary your presentations with some of the best selling fonts available.
Although there are many free fonts available, the truly stunning typefaces are the ones that have been designed professionally over years of experience. We searched many venues to find the top selling fonts being offered in online font shops. After collecting information on many of them, we are offering a display of some of the best typefaces below.
Brandon Grotesque has a functional look with a warm touch. While the thin and the black weights are great performers in display sizes the light, regular and medium weights are well suited to longer texts. The small x-height and the restrained forms lend it a distinctive elegance.
The Proxima Nova family is a complete reworking of Proxima Sans (1994). The original six fonts (three weights with italics) have been expanded to 48 full-featured OpenType fonts. There are three widths: Proxima Nova, Proxima Nova Condensed, and Proxima Nova Extra Condensed. Each width consists of 16 fonts—seven weights with matching italics.
Stylistically, Proxima Nova straddles the gap between typefaces like Futura and Akzidenz Grotesk. The result is a hybrid combining humanistic proportions with a somewhat geometric appearance.
The shape of the new FF DIN differs from the original mostly by thinner horizontal strokes and by more fluent curves. Despite its primitive, technical look and the clear reference to the German motorway signboards, FF DIN became a phenomenon. The typeface has pervaded corporate and publication typography, and found its place in posters of cultural institutions.
The Helvetica® design is a classic that has stood the test of time – and changed with technological advances in the process. First announced in 1957, Helvetica was re-released in 1983 as the Neue Helvetica® family, with a suite of subtle differences that made a positive impact on the design.
The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura , Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines.
ITC Avant Garde Gothic
ITC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde magazine. Herb Lubalin devised the logo concept and its companion headline typeface, then he and Tom Carnase, a partner in Lubalin’s design firm, worked together to transform the idea into a full-fledged typeface.
The Benton Sans® typeface from The Font Bureau, Inc. has a history of design and development that spans an entire century.
Developed as a re-imagining of Morris Fuller Benton’s 1908 classic, the News Gothic™ typeface family, Benton Sans retains much of the workhorse flexibility of its predecessor, while introducing new features and refinements unavailable in the original design.
With a wide range of weights and styles, Benton Sans has gained popularity in publishing and many other forms of print media.
Trade Gothic does not display as much unifying family structure as other popular sans-serif font families, but this dissonance adds a bit of earthy naturalism to its appeal. Trade Gothic is often seen in advertising and multimedia in combination with roman text fonts, and the condensed versions are popular in the newspaper industry for headlines.
Museo Sans is based on the well-known Museo. It is a sturdy, low contrast, geometric, highly legible sans serif typeface very well suited for any display and text use.
This OpenType font family offers also support for CE languages and even Esperanto. Besides ligatures, automatic fractions, proportional/tabular lining and old-style figures, numerators, denominators, superiors and inferiors MUSEO also has a ‘case’ feature for case sensitive forms.
The Helvetica® typeface is one of the most famous and popular in the world. It’s been used for every typographic project imaginable, not just because it is on virtually every computer. Helvetica is ubiquitous because it works so well. The design embodies the concept that a typeface should absolutely support the reading process – that clear communication is the primary goal of typography.
Nexa Rust from Fontfabric Type Foundry is a multifaceted font system consisting of font sub-families Sans, Slab, Script, Handmade and Extras.
Each of these sub-families contains a number of font weights which have a characteristic warm, rough look and display a few degrees of saturation.
The family has 28 weights, ranging from Hairline to Black in Condensed and Normal (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text as well as web and screen design.
FF Meta provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters.
Vito is a strong and elegant sans serif family in 60 styles. A wide range of weights and widths offering tremendous typographic flexibility. Perfect to mix in magazines or packaging; corporate designs or movie titles. Masculine and sporty for adrenaline junkies, reliable and elegant for serious typographers, but with a touch of bling for high snobiety. Vito has got you covered!
A truly beautiful typeface that achieves stellar levels of readability, in print and on screen. Meet Slate, from award-winning designer Rod McDonald. This six-weight sans serif family is a rare example of sublime aesthetics meeting world-class functionality, and no graphic communicator will want to be without it.
Intro Rust is one of the biggest packages on the market, including 214 fonts. The font family is a rough version of the famous Intro.
Intro Rust includes 4 sub-families – Intro Rust, Intro Script, Intro Head and Intro Goodies. It can be used to create almost all types of design projects like print materials and web design. Just use your imagination and your project will become more alive and vivid than ever with one of the Intro Rust fonts.
DIN is a 100-year-old typeface that was in dire need of a makeover – and Linotype’s Akira Kobayashi has done just that. Originally available in only two weights, the DIN Next™ typeface enlarges the family to 25 designs, perfectly suited for today’s digital typesetting needs.
The Univers® typeface family is one of the most prolific grotesque sans-serif typefaces of the century. Like Helvetica®, Univers is based on 1898‘s Akzidenz-Grotesk. However, Univers is unique in that the design lacks superfluous features of any type, creating a design that is versatile and distinctive without being obtrusive.
Neue Haas Grotesk
The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk was to be the answer to the British and German grotesques that had become hugely popular thanks to the success of functionalist Swiss typography.
The Panton font family includes 34 weights – 9 uprights with 9 italics and 16 icon sets as a bonus. It is characterized by excellent legibility in both web & print design areas, well-finished geometric designs, optimized kerning, excellent web-font performance and legibility etc.
FF Dax provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters.
It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.
Sant’Elia Script from Yellow Design Studio is a robust modern type family with regular and rough versions in six weights. Its letterforms are crisp and welcoming with a splash of verve. Alternate versions feature angled strokes that inject extra energy.
ITC Franklin Gothic
The ITC Franklin Gothic™ typeface family retains the personality and character of the original ATF Franklin Gothic, with only a slight increase in x-height and character width to distinguish it from the earlier version. ITC Franklin Gothic also retains the strength and vitality that is typical of late 19th century American sans serif typefaces.
The Effra font family has its roots in one of the earliest sans-serif designs commercially available, Caslon Junior, from 1816. Our design is updated for contemporary use, and has been expanded to our Standard character set. While it is not strictly a font intended for setting body copy, the resulting family does function well at text sizes.
Brandon Text is the companion of the famous Brandon Grotesque type family. It has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. This sans serif type family of six weights plus matching italics was designed by Hannes von Döhren in 2012.
FF Clan is an extensive family from Warsaw’s Łukasz Dziedzic. A fresh take on the contemporary sans model, FF Clan is comprised of seven weights in six widths.
Dziedzic’s experience in publication design is evident in these strong, readable types, which feature a large x-height, short descenders, and small caps for all weights. The thin weight is delicate but substantial, ideal for fashion and cosmetic campaigns.
Avenir Next Pro
In 2004, Frutiger, together with Linotype in-house type designer Akira Kobayashi, reworked the Avenir family to address on-screen display issues. The result was titled Avenir Next. The typeface family was increased to 32 fonts: 8 weights, each with a roman and italic version, in 2 widths: normal and condensed. Frutiger’s numbering system was abandoned in favor of more conventional weight names.
Futura’s long ascenders and descenders benefit from generous line spacing. The range of weights and styles make it a versatile family. Futura is timelessly modern; in 1928 it was striking, tasteful, radical — and today it continues to be a popular typographic choice to express strength, elegance, and conceptual clarity.
While many consider it to be the quintessential British type style, the Gill Sans® typeface family has been used in virtually every country – and for every application imaginable. The reason for Gill Sans’ near ubiquity is because it is an exceptionally distinctive design with a potential range of use that is almost limitless.
Mulberry is a beautiful handwritten calligraphy script that comes with lovely alternates, ligatures, extras and ornaments. Choose between Mulberry Script or Mulberry Script Pro and two font weights (Regular/Bold).
Mulberry Script comes with a basic set of alternates. Mulberry Script Pro comes with four sets of alternates including ligatures. This typeface can be used for fashion, apparel, stationery, magazines, letterpress, film, books and marketing.
World renowned typeface designer, Adrian Frutiger, was commissioned by the Charles De Gaulle Airport near Paris in the late 1960s to develop a typeface for airport signage. Instead of adapting his previously designed Univers® family, he developed something new that would also go on to become a classic – the Frutiger® typeface. The new design was completed in 1975 and installed at the airport that same year.
FF Meta Serif
The most influential sans serif of the digital revolution (FF Meta) now has a serif companion. It took three years and three designers to develop FF Meta Serif: Erik Spiekermann, Christian Schwartz and Kris Sowersby.
The Nexa family includes 16 styles & weights – eight uprights with eight italics. It is characterized by excellent legibility in both – web & print design areas, well-finished geometric designs, optimized kerning etc.
Nexa is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. The font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters, logos.
The roots of the Akzidenz-Grotesk® typeface date back as early as 1880. The designs are rumored to have been a derivative of the Walbaum or Didot serif fonts. When the serifs are removed from these designs, the proportions are very similar to those of Akzidenz-Grotesk. The Akzidenz-Grotesk family is actually a collection of numerous grotesque typefaces from different designers, unified to create a complete family.
ITC Avant Garde Gothic
The ITC Avant Garde Gothic® design was one of the first typeface families released by ITC – and continues to be one of its most popular. The basis for the typeface was created in the late 1960s for a new magazine conceived by the forward-thinking publisher and editor, Ralph Ginzburg. The publication was called, fittingly, Avant Garde. Herb Lubalin created the logo and Tom Carnase drew the alphabet based on Lubalin’s sketches.
This is a sans serif face based on geometrical shapes, representative of the aesthetics of the Bauhaus school of the 1920s-30s. Issued by the Bauer Foundry in a wide range of weights and widths, Futura became a very popular choice for text and display setting.
American type designer Michael Abbink created this sans FontFont in 2001. The family has 9 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, book text, logo, branding and creative industries, small text, wayfinding and signage as well as web and screen design.
Campton is a simple sans serif with a geometric skeleton, based on the mid to early twentieth century visual trend of achieving neutrality. Although there are a lot of typefaces focusing on similar principles, Campton tries to find its niche in the field of anonymous typefaces by combining simplicity with a subtle friendliness.
It is perfectly suited for graphic design application ranging from editorial and corporate design via web and interaction design through to product design.
The client wanted an “ultra modern” typeface. The design brief said the finished product should be “futuristic without being gimmicky or ephemeral.” The result was the Neo® Sans design. An “extended” typeface family, Neo Sans and Neo Tech were designed to encompass readability and have a futuristic demeanor.
Museo Sans Rounded
Museo Sans gently unsharpened… that’s Museo Sans Rounded. It doesn’t have italics, but is does have a very heavy 1000 weight. The spacing and kerning has been optimized for display use.
Museo Slab is a robust slab serif with Museo’s friendliness. It is a perfect match for Museo Sans.
The Myriad family includes condensed, normal and extended widths in a full range of weights. Well-drawn letter proportions, clean, open shapes and extensive kerning pairs ensure that the design retains a comfortable level of readability across all of its variants.
Trasandina is a very unique font-family: a modern, versatile, workhorse typeface with a special personality, given by the mix of humanist and geometric models, remaining far from both extremes.
This typeface has 9 styles plus their matching italics, it has an incredible wide range of weights, from very thin to an ultra thick stem.
Redesigned in 2012 by Olivier Gourvat, this typeface now supports a wide range of languages with more than 500 glyphs. This new version also has more OpenType features including case-sensitive forms, small caps, contextual alternatives, stylistic alternates, fractions, proportional and tabular figures.
Sansa, a sanserif family designed by Fred Smeijers, benefits from the liberties taken in recent sanserif design without overdoing them.
Geogrotesque is a semi modular with a subtle rounded finish typeface. All the characters are based in the same formal principle with its corresponding optical adjustments in order to adapt the system to an alphabet for texts. Although the type family has a geometric or “technological” construction, the rounded finish provides it a warm appearance, making the typefaces nicer and nearby.
Intro font family
The Intro font family consists of 50 unique font styles and weights. The family is characterized by excellent legibility both in print and on the web, a well-finished geometric design, optimized kerning, etc.
Interstate is a neo-grotesque sans serif typeface based on the signage alphabets of the U.S. Federal Highway Administration. Clean, simple and easy on the eyes, few jobs are outside the range of the Interstate family. The design lends itself particularly well to headlines and subheads in newspapers and periodicals, in addition to branding and online applications.
Corporative is a semi serif font that has a marked personality and distinctive traits, what makes it suitable to be used at large text sizes. Since it is a condensed font, it can also be used in smaller sizes.
Neue Haas Unica
The Neue Haas Unica™ family is a reimaging of the 1980s Haas Unica design, a suite of typefaces intended to be an updated alternative to the Helvetica® family. While Neue Haas Unica’s design foundation is firmly based on the earlier version, it has also been restructured for current imaging technologies.
Amsi has been designed to equipped with three different widths; Normal, Narrow and Condensed, addition to expanding weights to support various usabilities ranging from Thin, XLight, Light, Regular, SemiBold, Bold, Black and Heavy. Which makes Amsi along with a numerous features support the creativities of the designer from the Font Menu.