This Font Identification Aid/Guide is a tool to help narrow down the possible choices of Sans Serif type faces that meet certain stylistic characteristics. These typefaces are also called "Gothic", "Grotesque" (or Grotesk) or "Lineales" (or Lineals). I have emphasized Text (T) typefaces, but have also included many Handlettered (H) and Display (D) typefaces that are also sans serif faces. I will expand the number of faces covered as I have time, but the current set is over 800 type families and should prove useful. When you consider that each family could include various weights and condensed versions, this number of families might easily equate to 3,200 individual fonts or more.
I have recently updated this Aid to Guide status, with the addition of pictures of certain key letters. The seven letters (a, e, g, G, M, R, and y) used for the Style Codes, and several additional letters to help with identification. The standard sample will be "MRS Wilfy C Gadget Jr", so there will be 17 letters out of the possible 52. Numerals are not included. The reason for using this 17character sample is to keep the loading times short by keeping the samples simple, while using helpful letters for identification. I will continue to add samples as I am able to make or obtain them. (Sample donors are welcome, but I am only asking for graphics images, not the fonts. See the list of WANTED fonts, that need samples for this Guide.)
My Special Thanks to 'elaine' and 'Per Etz', sample donors extraordinaire, who have provided many of the font samples in this Guide, as well as in the Script Font Guide. Also many thanks to Victor De Castro of Unifonts, 'Apostrophe' of The Lab, and Rod Cavazos of Psy/Ops who all donated many samples. Such generous help, from these people and others, has made these Guides much more complete than I could have done on my own.
I have focused on Text types, because I think these are the hardest to distinguish from each other. For the purposes of this tool "Text" means that letterforms are relatively conventional and not usually intended to attract attention (ignore letter weight, and just look at the shapes of letters). They can be used in long settings of text in a book or magazine and not seem difficult to read. In my definition "Display" typefaces are those with distortions to lettershapes that are intended to make the type distinctive and noticeable. Compresssed or very wide typefaces belong in this category only if they do not have a "normal" width. "Handlettered" (or Handprinted) typefaces will look somewhat irregular, as if done by hand using a pen or brush. (Script types are not included  that's a separate Guide topic. See Script Font ID Guide.)
Sometimes you may notice that the same font will be shown with more than one code. This is done when I think the choice of character is not clear, so I choose both possibilities. This will make it easier for anyone to use the Aid, even if they don't quite see it the same as I do.
How to use this Font Identification Aid
You only need to have a sample with the following seven letters to use this Font Identification Aid: a, e, g, G, M, R and y.
There are two tables used to help characterize a typeface in this Identification Aid. The first uses pairs of the letters a & e and g & G to get the first Style Code. Decide which letterform combinations match most closely with the sample and note the corresponding Style Code number from the table. With the G, the key feature is the "chin"  I show five variations. There are only two variations you need to identify in the other three letters.
The second table uses the combinations of the letters a & R and M & y to give the second Style Code. You will note four variations in the R (the "leg" shape and position is key) and the M (the "crotch" position and "leg" angle are keys). There are only two variations to recognize in the letters a and y (whether their "tails" are straight or curved).
Using these two Style Codes, use Table 3 to look up the possible typefaces with these characteristics. [In order to shorten page loading times, Table 3 is in eleven Parts, determined by the 1st Style Code, which you will find in Table 1. Page 11 is for fonts that are unconventional, with no upper case, or no lower case, or a mix that omits some of the usual diagnostic letters for the style codes. In such cases the letters used for the codes will be shown, and the first applicable row/column values will be used (shown by colorcoded squares). NOTE: Table 1 has links to the other pages where those Parts of Table 3 are displayed. Links for this page are inactive.] You will need a way to know what these typefaces look like when there is no graphic (yet)  that's why this is called an "Aid/Guide"  and then be able to identify the typeface based on the more subtle features of each typeface. (See the "Bauhausstyle" Font Identification Guide, for an example of a Bowfin Font ID Guide.)
How to find similar typefaces
If you know a font's name and want to see if there are other fonts with similar characteristics, possibly to use as substitutes, you can look up the font name in the Sans Alpha List, which is a tabdelimited text file arranged in alphabetical order of the font names, rather than in order of the Style Codes. This list is also useful if you suspect that a font may be the one you are trying to identify, but you don't know where to find it for comparison. Once you find out the Style Codes, then you can use the links in Table 1 on Page 1 to go to the page that has those Style Codes.
Free Font Identification Service  If you ever see a "mystery" typeface used somewhere that you would like identified, just send me a sample, or send me the URL of a website that uses the typeface, and I will try to tell you the name of the typeface and where you can buy it. email me your font ID question
Table 1
All
Caps 

21

22

23

24


All Lower Case 
Table 1 Assumptions:
Assume e is angled type if bar is not completely straight.
Assume g is "2bowl" type if tail is not simple curve.
Table 2
All
Caps 

1

2

3

4

5

6

7

8

MR1  MR4  
9

10

11

12

13

14

15

16

MR9  MR12  
17

18

19

20

21

22

23

24

MR17  MR20  
25

26

27

28

29

30

31

32

MR25  MR28  
33

34

35

36

37

38

39

40


41

42

43

44

45

46

47

48


49

50

51

52

53

54

55

56


57

58

59

60

61

62

63

64


All Lower Case 
ay1
or ay33 
ay5
or ay37 
Table 2 Assumptions:
NOTE: Treat singlelevel a the same as letter a with curved tail.
Assume tail of an a or y is straight, unless it is obvious that it is not.
Assume M legs are not angled, unless it is obvious that they are.
Assume straightlegged R is the first type, unless it is obviously the second type.
Assume curvedlegged R is fourth type, unless flip at baseline is obvious.
Table 3 (Part 7  1st Style Codes 21 to 24)
Font name (Supplier)  Font Class  1st Style Code  2nd Style Code  Sample  Notes 
Corvallis Sans (PB/AG)  H  21  9 

looks pendrawn 
Nerol Sans (UT)  T  22  1 

f below baseline; stroke protrudes through stem on B, E, F, P, R 
Andrew Sans (UT)  T  22  25 


Woodland (IT)  H  23  6 

J below baseline 
Goudy Sans (IT)  T  23  9 

J below baseline; curved A with top serif 
Phelps Sans (UT)  T  23  9 


Spaulding Sans (JF)  T  23  10 

uneven strokes; Venetian style letterforms 
Legacy Sans (IT)  T  23  18 

J below baseline 
Pilsner (FB)  D  23  37 

"Squared, angular letters" 
Roman Tyres (RR)  D  23  45 

arcs used for curves; tails of h, m, n, and s curve beck below baseline; bowls of U.C. letters are open at top. 
Eureka Mono (FF)  T  23  46 

Monospaced; I, J with serifs; J on baseline 
Eureka Sans (FF)  T  23  46 

J goes below baseline 
Castle (E+F/URW/LL)  D  24  2 

lower g bowl flattened 
Optima (AD/LL)  T  24  2 


Salzburg (RR)  T  24  2 

g lower bowl open, flattened; looks identical to Castle 
Josef Alternates (ingo)  T  24  3 

shows alt a,g, G, M, R, f, d and l (l fully straight line) 
John Sans (ST)  T  24  5 

J below baseline; lower bowl of g open 
Odense (LL)  T  24  6 


Pompei (AG)  T  24  6 

very small serifs 
Triplett (AG)  T  24  6 

Very small serifs 
Beret (LL)  T  24  9 

Ignores slight M splay; stems have slight angles at top or bottom; serif on J, j; Comes in 5 weights, each with italic. 
Productus (FB)  T  24  9  
Scala Sans (FF)  T  24  9 

y has very slight curve (ignored) 
Linex Sans (AG)  T  24  10 


Tschichold (PT)  T  24  11 

Ignores very slight curve at top of R leg 
Berling Nova Sans (LL)  T  24  13  
Scala Sans (FF)  T  24  13  considers y as curved  
Symbol (IT)  T  24  13 

very small serifs; tail on a not prominent 
Absara Sans (FF)  T  24  14 

Considers a as having a tail (see T2446) 
Bebop (AG)  T  24  14 

Curved l 
Claude Sans (Let)  T  24  14 


Cronos (AD)  T  24  14 

open P 
Foundry Sans (QS)  T  24  14 


New Age (GD)  T  24  14 

semiserif; comes in 2 weights in Regular & Condensed widths; G considered to be type 1; Regular width has true italics for both weights; Bold shown here. 
Pompei Light (AG)  T  24  14 

very small serifs, R leg close to stem, but considered type 2 R 
Symphony (AG)  T  24  14 

same as Syntax 
Syntax (AD/BE)  T  24  14 


English Grotesque (T26)  T  24  15 

T26(22); horseshoeshaped C & G 
Maiandra (AG/GD)  H  24  18 


Documenta Sans (DTL)  T  24  21 

DTL; tail of R curves upward 
Haarlemmer Sans (DTL)  T  24  21 

DTL 
Herbert (E+F)  T  24  26 

Unusual unhooked J, below baseline 
Agora Sans (Parachute)  T  24  29 

[Comes in 8 weights with italics] 
Chianti (BT)  T  24  30 


Dialog (LL)  T  24  33 

Lower bowl of g open 
Silverado (RR)  T  24  33 

small spur serifs; has condensed version too; several weights 
ExpoSans (TCult)  T  24  34 

R considered type 1 (also see T2458). Dot on i, j is not circular. 
New Lincoln Gothic (BT)  T  24  34 

earshaped C & G 
Norma (LL)  T  24  34 

lower bowl of g open 
Octone (IT)  T  24  34 

slightly condensed font 
Signata (BE)  T  24  34 


Stellar (AG)  T  24  34 

xheight greater than Stellar Classic; 3 weights 
Stellar Classic (GR)  T  24  34 

low xheight 
Altrincham (URW)  T  24  35 

Considers R as type 1 (see T2443) 
Brda (LL)  D  24  37 

notches at stem intersections of A, a, b, d, e, G, h, m, n, P, p, Q, q, r and u; lower bowl of g is open; has italic 
Hildegard (LL)  T  24  37 

slight flare to strokes; comes in 2 weights with italics for each 
Aroma (LL)  T  24  38 

R considered as Type 1 
Caspari (DTL)  T  24  38 

DTL; R leg close to stem (also classed as T2446) 
Duckweed Sans (AB)  T/H  24  38 

semiserif face 
Profile (FF)  T  24  38 

R leg close to stem 
Supralux (Brassfonts)  T  24  38 

open g; serif on J; M slightly splayed 
TheSans (LF)  T  24  38 


Fritz (FB)  H  24  39 


Simper (TF)  T  24  39 

blobs at ends of strokes; G is ambiguous (also T3239) 
TheSansMono (LF)  T  24  40 


Beret (LL)  T  24  41 

Ignores slight M splay; stems have slight angles at top or bottom; serif on J, j; Comes in 5 weights, each with italic. 
Hiroshige Sans (AG)  T  24  41 

small flare serifs; ignores slight M splay 
Inegale (Psy)  T  24  41 

Straight pointed tails on f and a; slight hook on tail of y 
Mariposa Sans (PB/AG)  T  24  41 

ignored slight M splay 
Ambigue (LL)  T  24  42 

k has loop; curved l 
Amira (FB)  T  24  42 


Charlotte Sans (Let)  T  24  42 


Christiana (BE)  T  24  42 


Formata (BE)  T  24  42 


Globale (Let)  T  24  42 

Letraset(UK); curved l; c,C squarish and open 
Klavika (Proc)  T  24  42 

squarish; open bowl on g; considers M as type 2 (see also T2444) 
Resavska Sans (IT)  T  24  42 

lower bowl of g is open; y is considered straight. (also classed as T2446, if ytail is considered curved) 
Signa (FF)  T  24  42 


Altrincham (URW)  T  24  43 

Considers R as type 2 (see T2435) 
Atelier Sans (IT)  T/H  24  43 

G may be seen as Type 1 or Type 3 
Klavika (Proc)  T  24  44 

squarish; open bowl on g; considers M as type 4 (see also T2442) 
Inegale (Psy)  T  24  45 

Straight pointed tails on f and a; slight hook on tail of y 
Page Sans (FF)  T  24  45 


PopplLaudatio (BE)  T  24  45 


Symbol (IT)  T  24  45 

very small serifs; tail on a not prominent 
Absara Sans (FF)  T  24  46 

Considers a as having no tail (see T2414) 
Alinea Incise (AG)  T  24  46 


Aroma (LL)  T  24  46 

R considered as Type 2 
BeoSans (FF)  D  24  46 

slightly to noticeably distressed; J below baseline 
Caspari (DTL)  T  24  46 

DTL; R leg close to stem (also classed as T2438) 
Eva (OurType)  T  24  36 

lower bowl of g is open 
Keule Sans (E+F)  T  24  46 

strokes are tapered, wider at base; J has almost no tail 
Neuhengen (PB/AG)  T  24  46 


Profile (FF)  T  24  46 

R leg close to stem 
Resavska Sans (IT)  T  24  46 

lower bowl of g is open; y is considered curved. (also classed as T2442, if ytail is considered straight) 
Strada (FF)  T  24  46 

J below baseline 
Versa Sans (OurType)  T  24  46 


Bliss (AG)  T  24  47 

Curved l 
Corisande (T26/IDK)  T  24  47 

Curved l 
Bradlo Sans (FF)  T  24  49 


Priori Sans (EM)  T  24  49 

a with flat top; J is almost straight; comes in 2 weights; l is curved 
Luna (IT)  D  24  50 

y tail not strongly curved; vertical stroke bolder; l curved 
Ultra Modern (RR)  D  24  51 

heavy vertical strokes; Art Deco look; wedge dots 
Luna (IT)  D  24  54 

y tail not strongly curved; vertical stroke bolder; l curved 
QuickType Sans (AG)  T  24  55 

earshaped C, G; diamond dots 
ExpoSans (TCult)  T  24  58 

R considered as Type 4 (also see T2434). Dot on i, j is not circular. 
Oz Brush (A*I)  H  24  58 


Corinthian (Let)  T  24  59 


Generis Simple (LL)  T  24  61  curved l; lower bowl of g is open  
Globe Gothic, Goudy (Stylus)  D  24  61 

tailed g; ignores slight serif on G; R curve slight 
Strayhorn (MT)  T  24  61 

condensed, uneven strokes 
Tarcis Sans (UT)  T  24  61 


Candara (MS)  T  24  62 


Mentor Sans (MT)  T  24  62 

Very slight tapering of strokes. Superficially similar to Optima, but tops of letters are flat; also a,Q, R, and y are most noticeably different. (See T242 for Optima) 
DGWT = "Designer's Guide to Web Type" by K. Ziegler, N. Greco  
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