Introducing a selection of 10 awesome font combination for UI/UX design. These fonts are one of the popular trend for personal branding. They are also great for everyday using, social media posts, crafts and many other things.
Playfair Display
Playfair is a transitional design. In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. Together with developments in printing technology, ink, and paper making, it became to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms.
Source Sans Pro
Source® Sans Pro, Adobe’s first open source typeface family, was designed by Paul D. Hunt. It is a sans serif typeface intended to work well in user interfaces.
Merriweather
Merriweather was designed to be a text face that is pleasant to read on screens. It features a very large x height, slightly condensed letterforms, a mild diagonal stress, sturdy serifs and open forms.
Oswald
Oswald is a reworking of the classic style historically represented by the ‘Alternate Gothic’ sans serif typefaces. The characters of Oswald were initially re-drawn and reformed to better fit the pixel grid of standard digital screens. Oswald is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.
Montserrat
The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique.
Raleway
Raleway is an elegant sans-serif typeface family intended for headings and other large size usage. Initially designed by Matt McInerney as a single thin weight, it was expanded into a 9 weight family by Pablo Impallari and Rodrigo Fuenzalida in 2012 and iKerned by Igino Marini.
Lato
Lato is a sans serif typeface family started in the summer of 2010 by Warsaw-based designer Łukasz Dziedzic (“Lato” means “Summer” in Polish). In December 2010 the Lato family was published under the Open Font License by his foundry tyPoland, with support from Google.
Circular Std Bold
LL Circular is a geometric Sans Serif font family in eight weights. It is Laurenz Brunner’s second official release after the critically acclaimed, immensely popular LL Akkurat. It offers a fresh take on the genre of the geometric grotesk, a typographic current prevalent in pre-war Germany, exemplified by Jakob Erbars Erbar Grotesk (1926–29), Paul Renner’s Futura (1927–28), Rudolf Koch’s Kabel (1927–29) and Wilhelm Pischner’s Neuzeit Grotesk (1928–29), which found prominent re-visitations in the 1970s (Herb Lubalin’s Avant Garde) and 1980s (Adrian Frutiger’s Avenir).
Cambria
Cambria is often a transitional serif typeface commissioned by Microsoft and distributed with Windows and Office. It was developed by Dutch typeface designer Jelle Bosma in 2004, with enter from Steve Matteson and Robin Nicholas. An unrelated font using the Cambria identify was developed by kind designer Ian Koshnick in 1989 for his program publishing firm, Cambria Publishing.
Open Sans
Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets. Open Sans was designed with an upright stress, open forms and a neutral, yet friendly appearance. It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms.
Open Sans Condensed
Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets.
PT Sans
PT Sans was developed for the project “Public Types of Russian Federation.” The second family of the project, PT Serif, is also available. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
Proxima Soft
Proxima Soft (2017) is a rounded version of Proxima Nova. With the same forty-eight styles (eight weights in three widths, plus italics), Proxima Soft fits the bill when you want something a bit warmer and more playful than its older sibling. It features the same extensive language support, including Greek and Cyrillic. It also has several alternate characters, such as a one-storey lowercase a, allowing you to customize its appearance in a variety of ways
Brandon Grotesque
After completing his studies (graphic design) in 2005, Hannes von Döhren worked in an advertising agency in Hamburg, Germany. Since 2007 he has been working as a freelance graphic- and type designer in Berlin. Von Döhren previously released several typefaces through Linotype, ITC and T26. He now releases some typefaces through his HVD Fonts foundry.
Roboto
Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn’t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types.
Gotham
Gotham is really a loved ones of widely made use of geometric sans-serif electronic typefaces built by American variety designer Tobias Frere-Jones in 2000. Gotham’s letterforms are influenced by a sort of architectural signage that achieved acceptance during the mid-twentieth century, and they are specifically well known all through The big apple City. Gotham provides a relatively broad style and design having a fairly large x-height and large apertures.
Modern No. 20
Modern No. 20 is the king of titling faces, even though in its original form it could also be used at less than 10 points. What annual report, what title page doesn’t look better with this used? It has class.
