Akira Kobayashi; Sandra Winter
Applied Sans Pro
“Trusting our intuition often saves us from disaster.”
Anne Wilson Schaef
Akira Kobayashi; Sandra Winter
“Trusting our intuition often saves us from disaster.”
Anne Wilson Schaef
To embed your selected fonts into a webpage, copy this code into the head of your HTML document.
<link href="https://fonts.cdnfonts.com/css/applied-sans-pro" rel="stylesheet">
<style>
@import url('https://fonts.cdnfonts.com/css/applied-sans-pro');
</style>
Use the following CSS rules to specify these families
font-family: 'Applied Sans Pro', sans-serif;
The Applied Sans™ typeface family is reimaging of late 19th and early 20th century sans serif typefaces used in what was then called, “jobbing or trade” work. While built on the foundation of these early designs, the Applied Sans design adds to it this all the prerequisite attributes for modern typographic communication.
The Applied Sans design captures the spirit of these early sans serif typefaces, and tempers it with aspects of later creations like the Standard and Monotype Grotesque® typefaces. The result is forms that exhibit nothing unusual and meld a lively demeanor with proven legibility traits. The design is a contemporary suite of systematic weights and proportions. Graphic communicators can now take advantage of a robust typeface family that embraces the distinctive look of the early sans serifs while meeting the needs of today’s global design requirements.
The Applied Sans design benefits from a generous x-height, open counters, large apertures and a slight modulation in stroke weights. The first three establish character legibility in a variety of imaging environments while the latter makes for a design that is inviting and easy to read. Terminals are also cut at right angles to character strokes, softening and humanizing the design.
The Applied Sans family’s range of seven weights, from a delicate thin to commanding ultra black (each with an italic counterpart) and a complementary suite of condensed roman designs provide for exceptional depth and flexibility. Unlike earlier sans serif typefaces, the weight range of the Applied Sans typeface family was developed consistently and purposefully from the beginning. The combination of multiple weights and a wide variety of widths allow for an extensive range of applications and ensure typographic consistency. The family is available as 24 OpenType® Pro fonts, providing for the automatic insertion of ligatures, fractions and alternative characters. The family’s wide range and sensitive gradation of weights, extensive language support and exceptionally high level of character legibility guarantees Applied Sans’ prowess in a wide and diverse range of applications. The light weights are perfect for headlines and other large settings, as well as small blocks of copy at typical text sizes. The regular, medium and bold weights know no boundaries, and the black and ultra black designs are ideal for when typography needs to be powerful and commanding. The design has proven itself in both print and on screen environments – and performs with grace in both. While the Applied Sans design foundation is in typefaces primarily intended for display copy, it is an excellent communicator at small sizes and in lengthy blocks of text copy.
Applied Sans Pro 400
Applied Sans Pro 400
Applied Sans Pro Italic 400
Applied Sans Pro Italic 400
Applied Sans Pro 250
Applied Sans Pro 250
Applied Sans Pro Italic 250
Applied Sans Pro Italic 250
Applied Sans Pro 300
Applied Sans Pro 300
Applied Sans Pro Italic 300
Applied Sans Pro Italic 300
Applied Sans Pro 350
Applied Sans Pro 350
Applied Sans Pro Italic 350
Applied Sans Pro Italic 350
Applied Sans Pro 500
Applied Sans Pro 500
Applied Sans Pro Italic 500
Applied Sans Pro Italic 500
Applied Sans Pro 700
Applied Sans Pro 700
Applied Sans Pro Italic 700
Applied Sans Pro Italic 700
Applied Sans Pro 800
Applied Sans Pro 800
Applied Sans Pro Italic 800
Applied Sans Pro Italic 800
Applied Sans Pro 900
Applied Sans Pro 900
Applied Sans Pro Italic 900
Applied Sans Pro Italic 900
Loading