thesis font family

The Thesis Project

The Thesis superfamily was first published in 1994 as part of the FontFont collection, and became part of the LucasFonts type library in 2000. The family was conceived as a versatile typographic system of ambitious scope. It grew out of a dissatisfaction with the limited range of good typefaces available for corporate identity projects. Thesis aims to fill that gap by providing the user with three compatible styles – TheSans , TheMix and TheSerif  – in an optically harmonious range of eight weights, including real italics for each weight.

Thesis pioneered the concept of the all-purpose type system or superfamily which has since become such an important tool for the discerning typographer.

The Thesis family has been expanded over the years. TheSans and TheMix are now available in three widths: Normal, Condensed and SemiCondensed. In addition, three ultra-narrow widths for TheSans are available on demand.

TheSans offers several sub-families for specialized uses:

• TheSans Mono A monospaced series for computer coding and similar uses.
• TheSans Hair A carefully balanced series of seven hairline weights for ultralight magazine and advertising headlines.
• TheSans Typewriter A set of four typewriter-like fonts.
• TheSans Arabic The Arabic-speaking version of TheSans.

• Central and Eastern European
• Cyrillic (including Bulgarian Cyrilic)
• Latin Extended (including Vietnamese)

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Thesis (typeface)

Thesis is a large typeface family designed by Luc(as) de Groot . The typefaces were designed between 1994 and 1999 to provide a modern humanist family. Each typeface is available in a variety of weights as well as in italic . Originally released by FontFont in 1994, it has been sold by de Groot through his imprint LucasFonts since 2000 [1] .

TheSansMono

Thesanstypewriter, themix arabic, offshoot font families, collections, uses of thesis fonts, external links.

Thesis fonts have become popular and can be seen in various publications or logotypes.

To create a varied range of fonts of different thicknesses and levels of condensation, Thesis was developed using multiple master technology, in which weights were created by 'averaging' and extending the trend between a thick and thin design to create a smooth, continuous trend in styles from thin to very bold. The fonts also include a large number of stylistic alternate characters. [2]

The family is a font superfamily , since it includes both serif and sans-serif designs.

A humanist sans-serif font family, somewhat similar to Syntax (1968) and Frutiger (1976). It included fonts in 8 weights and 2 widths, with complementary italic fonts. A distinctive figure is the 'Q' with the detached tail, somewhat similar to that on Dwiggins' Metro ; an alternate is provided for when this is unsuitable.

In TheSans Condensed, each weight only includes roman and italic, but all 4 number styles can be found.

It is a monospaced variant. 3 widths have been produced. All fonts use hanging monospaced figures.

It is a monospaced variant with ragged strokes. It included fonts in regular and bold weights in the widest TheSansMono width, with complementary italic fonts. It uses hanging monospaced figures.

It is a slab serif font family. It included fonts in 8 weights and 1 width, with complementary italic fonts.

It is a slab serif font family, but using only serif on upper portion of small letters. It included fonts in 8 weights and 1 width, with complementary italic fonts.

It is a monospaced variant. Each weight only includes roman and italic. All fonts use hanging monospaced figures.

It is a variant designed by Lucas de Groot, Arab calligrapher and designer Mouneer Al-Shaarani, and with technical support from Pascal Zoghbi. Lucas designed the Bold version of the type, while Pascal finalized the Bold design by modifying some glyphs, spacing and encoding/scripting the font, and later developed TheMix Arabic Regular.

The font was included in the Typographic Matchmaking Project organized by the Khatt Foundation.

Offshoot font families of the Thesis font superfamily include TheAntiqua, [3] Nebulae, [4] and JesusLovesYouAll. [5] [6]

TheAntiqua is a variant based on TheSerif. It included fonts in 7 weights and 1 width, with complementary italic fonts. OpenType feature includes small caps (roman only). TheAntiqua won an award in 1999 from Type Directors Club . [ citation needed ]

Each of the family are categorized in following family collections: Classic, Basic, Office.

Classic family includes all 8 font weights, with roman, italic, small caps roman, small caps italic, expert, expert italic in each weight. It includes hanging proportional, hanging monospaced, lining proportional, lining monospaced figures; and additional f-ligatures. Expert fonts include arrows, swashes, fraction figures, alternate styles, mathematic symbols, ornaments.

Basic family includes all 8 font weights, but without small caps and expert fonts. It includes lining proportional figures (smaller than in classic).

Office family only includes Regular and Bold weights, with only roman and italic in each weight. It includes hanging monospaced figures.

de Groot's choice of weights to release was developed using an "interpolation theory". The optical interpolation b , in the three stems a (thinnest), b (interpolation) and c (thickest), is set to the geometric mean of a and c , i.e. b ²   =   ac (as opposed to the linear arithmetic mean ). [7]

As an amusement, de Groot also developed a number of parodic reworkings of Thesis, including Nebulae and JesusLovesYouAll. [8]

• BG Group – now taken over [9]
• University of Zurich - TheSans [10]
• Marque Bretagne — TheMix [11]
• Office Depot — TheSerif
• Swisscom — TheSans and TheSerif [12]
• Victoria and Albert Museum — TheSans (custom variant) [13]
• Branding for the World Exposition 2000 in Hannover, Germany – TheSans [14]
• Deutsche Welle - TheAntiqua [15]
• ARD - TheSans and TheAntiqua

Related Research Articles

Optima is a humanist sans-serif typeface designed by Hermann Zapf and released by the D. Stempel AG foundry, Frankfurt, West Germany in 1958.

A typeface is a design of letters, numbers and other symbols, to be used in printing or for electronic display. Most typefaces include variations in size, weight, slope, width, and so on. Each of these variations of the typeface is a font.

Frutiger is a series of typefaces named after its Swiss designer, Adrian Frutiger. Frutiger is a humanist sans-serif typeface, intended to be clear and highly legible at a distance or at small text sizes. A very popular design worldwide, type designer Steve Matteson described its structure as "the best choice for legibility in pretty much any situation" at small text sizes, while Erik Spiekermann named it as "the best general typeface ever".

Arial is a sans-serif typeface and set of computer fonts in the neo-grotesque style. Fonts from the Arial family are included with all versions of Microsoft Windows from Windows 3.1 on, some other Microsoft software applications, Apple's macOS and many PostScript 3 computer printers. The typeface was designed in 1982, by Robin Nicholas and Patricia Saunders, for Monotype Typography. Each of its characters has the same width as that character in the popular typeface Helvetica; the purpose of this design is to allow a document designed in Helvetica to be displayed and printed with the intended line-breaks and page-breaks without a Helvetica license. Because of their almost identical appearances, both Arial and Helvetica have commonly been mistaken for each other.

Courier is a monospaced slab serif typeface. The typeface was designed by Howard "Bud" Kettler (1919–1999). Initially created for IBM's typewriters, it has been adapted for use as a computer font, and versions of it are installed on most desktop computers.

Lucida is an extended family of related typefaces designed by Charles Bigelow and Kris Holmes and released from 1984 onwards. The family is intended to be extremely legible when printed at small size or displayed on a low-resolution display – hence the name, from 'lucid'.

Myriad is a humanist sans-serif typeface designed by Robert Slimbach and Carol Twombly for Adobe Systems. Myriad was intended as a neutral, general-purpose typeface that could fulfill a range of uses and have a form easily expandable by computer-aided design to a large range of weights and widths.

Lucida Grande is a humanist sans-serif typeface. It is a member of the Lucida family of typefaces designed by Charles Bigelow and Kris Holmes. It is best known for its implementation throughout the macOS user interface from 1999 to 2014, as well as in other Apple software like Safari for Windows. As of OS X Yosemite, the system font was changed from Lucida Grande to Helvetica Neue. In OS X El Capitan the system font changed again, this time to San Francisco.

In metal typesetting, a font is a particular size, weight and style of a typeface. Each font is a matched set of type, with a piece for each glyph. A typeface consists of various fonts that share an overall design.

Rotis is a typeface developed in 1988 by Otl Aicher, a German graphic designer and typographer. In Rotis, Aicher explores an attempt at maximum legibility through a highly unified yet varied typeface family that ranges from full serif, glyphic, and sans-serif. The four basic Rotis variants are:

Multiple master fonts are an extension to Adobe Systems' Type 1 PostScript fonts, now superseded by the advent of OpenType and, in particular, the introduction of OpenType Font Variations in OpenType 1.8, also called variable fonts.

Lucas de Groot , known professionally as Luc(as) de Groot , is a Dutch type designer. He is the head of the type foundry Fontfabrik, also trading as LucasFonts.

Syntax comprises a family of fonts designed by Swiss typeface designer Hans Eduard Meier. Originally just a sans-serif font, it was extended with additional serif designs.

Benton Sans is a digital typeface family begun by Tobias Frere-Jones in 1995, and expanded by Cyrus Highsmith of Font Bureau. It is based on the sans-serif typefaces designed for American Type Founders by Morris Fuller Benton around the beginning of the twentieth century in the industrial or grotesque style. It was a reworked version of Benton Gothic developed for various corporate customers, under Frere-Jones's guidance. In developing the typeface, Frere-Jones studied drawings of Morris Fuller Benton's 1908 typeface News Gothic at the Smithsonian Institution. The typeface began as a proprietary type, initially titled MSL Gothic, for Martha Stewart Living magazine and the website for Martha Stewart Living Omnimedia. As Benton Gothic, there are 7 weights from Thin to Black and only 2 widths.

Droid is a font family first released in 2007 and created by Ascender Corporation for use by the Open Handset Alliance platform Android and licensed under the Apache License. The fonts are intended for use on the small screens of mobile handsets and were designed by Steve Matteson of Ascender Corporation. The name was derived from the Open Handset Alliance platform named Android.

Nimbus Sans is a sans-serif typeface created by URW++, based on Helvetica.

In typography, a font superfamily or typeface superfamily is a font family containing fonts that fall into multiple classifications.

The Public Type or PT Fonts are a family of free/libre fonts released from 2009 onwards, comprising PT Sans , PT Serif and PT Mono . They were commissioned from the design agency ParaType by Rospechat, a department of the Russian Ministry of Communications, to celebrate the 300th anniversary of Peter the Great's orthography reform and to create a font family that supported all the different variations of Cyrillic script used by the minority languages of Russia, as well as the Latin alphabet.

Source Sans is a sans-serif typeface created by Paul D. Hunt, released by Adobe in 2012. It is the first open-source font family from Adobe, distributed under the SIL Open Font License.

A uniwidth typeface , also known as an equal-width , duplexed , or multiplexed typeface , is a typeface where every variation (font) has the same metrics. As a result, changing the variation used, such as using bold or italics, does not change the layout (reflow).

• ↑ "About Thesis" . LucasFonts . Retrieved 27 March 2023 .
• ↑ Hardwig, Florian. "Jazz In Town poster" . Fonts In Use . Retrieved 12 May 2016 . TheSans is a well-equipped font, featuring Ǖ, Ǘ, Ǚ and Ǜ, Vietnamese small-caps, six alternative ampersands and many more cool extras.
• ↑ "TheAntiqua" . LucasFonts.
• ↑ "Nebulae" . LucasFonts.
• ↑ "JesusLovesYouAll" . LucasFonts.
• ↑ @LucasFontsNews (2020-07-02). " [ TheAntiqua is ] not part per se, but yes, related. TheAntiqua is a child of the Thesis superfamily. Other children are Nebulae and JesusLovesYouAll" (Tweet) – via Twitter .
• ↑ "Interpolation Theory" . LucasFonts . Retrieved 7 July 2015 .
• ↑ "FontFabrik Type" . FontFabrik . Retrieved 7 July 2015 .
• ↑ Coles, Stephen. "BG Group" . Fonts in Use . Retrieved 12 May 2016 .
• ↑ "UZH Corporate Identity" .
• ↑ "BRETAGNE – Le site officiel de la marque Bretagne" (in French) . Retrieved October 15, 2014 .
• ↑ "Swisscom Brand Center" . brandcenter.swisscom.com . Archived from the original on 2014-01-11.
• ↑ "Sources for the study of marketing in the V&A Archive" (PDF) . V&A . Retrieved 4 March 2016 . A new typeface was developed specifically for the V&A, the 'V&A Sans' (adapted from TheSans font, which had been designed by Luc(as) de Groot in 1994
• ↑ "Expo 2000 Corporate Identity: Typeface" . Archived from the original on 6 October 2000 . Retrieved 1 January 2019 .
• ↑ "Lucas Fonts - Deutsche Welle ad sales website" .
• Thesis super family : TheSans , TheSansTypewriter , TheSansMono , TheMix , TheMixMono , TheSerif
• TheAntiquaB
• identifont.com: FontFabrik
• TheMix Arabic: balancing handwritten and geometrically constructed letterforms.
• 29 Arabic Letters: TheMix Arabic
• Fonts In Use: TheSans , TheSerif , TheAntiqua , TheMix

What font should I choose for my thesis?

This post is by DrJanene Carey, a freelance writer and editor based in Armidale NSW. She occasionally teaches academic writing at the University of New England and often edits academic theses, articles and reports. Her website is http://www.janenecarey.com

Arguably, this question is a classic time waster and the student who poses it should be told to just get on with writing up their research. But as someone who edits theses for a living, I think a bit of time spent on fonts is part of the process of buffing and polishing what is, after all, one of the most important documents you will ever produce. Just bear in mind that there is no need to immerse yourself so deeply in the topic that you start quibbling about whether it’s a font or a typeface that you are choosing .

Times New Roman is the standard choice for academic documents, and the thesis preparation guidelines of some universities stipulate its use. For many years, it was the default body text for Microsoft Word. With the release of Office 2007, the default became a sans serif typeface called Calibri. Lacking the little projecting bits (serifs) at the end of characters makes Calibri and its many friends, such as Arial, Helvetica and Verdana, look smoother and clearer on a screen, but generally makes them less readable than a serif typeface when used for printed text . The other problem with choosing a sans serif for your body text is that if you want passages in italics (for example, lengthy participant quotes) often this will be displayed as slanted letters, rather than as a true italic font.

You would like your examiners to feel as comfortable as possible while their eyes are traversing the many, many pages of your thesis, so maximising legibility and readability is a good idea. Times New Roman is ubiquitous and familiar, which means it is probably the safest option, but it does have a couple of drawbacks. Originally designed for The Times in London, its characters are slightly narrowed, so that more of them can be squished into a newspaper column. Secondly, some people intensely dislike TNR because they think it has been overused, and regard it as the font you choose when you are not choosing a font .

If you do have the luxury of choice (your university doesn’t insist you use Times New Roman, and you have defined document styles that are easy to modify, and there’s enough time left before the submission deadline) then I think it is worth considering what other typefaces might work well with your thesis. I’m not a typographical expert, but I have the following suggestions.

• Don’t use Calibri, or any other sans serif font, for your body text, though it is fine for headings. Most people agree that dense chunks of printed text are easier to read if the font is serif, and examiners are likely to expect a typeface that doesn’t stray too far from the standard. To my eye, Calibri looks a little too casual for the body of a thesis.
• Typefaces like Garamond, Palatino, Century Schoolbook, Georgia, Minion Pro, Cambria and Constantia are all perfectly acceptable, and they come with Microsoft Word. However, some of them (Georgia and Constantia, for example) feature non-lining numerals, which means that instead of all sitting neatly on the base line, some will stand higher or lower than others, just like letters do. This looks nice when they are integrated with the text, but it is probably not what you want for a tabular display.
• Consider using a different typeface for your headings. It will make them more prominent, which enhances overall readability because the eye scanning the pages can quickly take in the hierarchy of ideas. The easiest way to get a good contrast with your serif body text is to have sans serif headings. Popular combinations are Garamond/Helvetica; Minion Pro/Myriad Pro; Times New Roman/Arial Narrow. But don’t create a dog’s breakfast by having more than two typefaces in your thesis – use point sizes, bold and italics for variety.

Of late, I’ve become quite fond of Constantia. It’s an attractive serif typeface that came out with Office 2007 at the same time as Calibri, and was specifically designed to look good in print and on screen. Increasingly, theses will be read in PDF rather than book format, so screen readability is an important consideration.  Asked to review Microsoft’s six new ClearType fonts prior to their release, typographer Raph Levien said Constantia was likely to be everyone’s favourite, because ‘Even though it’s a highly readable Roman font departing only slightly from the classical model, it still manages to be fresh and new.’

By default, Constantia has non-lining numerals, but from Word 2010 onwards you can set them to be lining via the advanced font/number forms option, either throughout your document or in specific sections, such as within tables.

Here is an excerpt from a thesis, shown twice with different typefaces. The first excerpt features Calibri headings with Constantia body text, and the second has that old favourite, Times New Roman. As these examples have been rendered as screenshots, you will get a better idea of how the fonts actually look if you try them on your own computer and printer.

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The Thesis Whisperer is written by Professor Inger Mewburn, director of researcher development at The Australian National University . New posts on the first Wednesday of the month. Subscribe by email below. Visit the About page to find out more about me, my podcasts and books. I'm on most social media platforms as @thesiswhisperer. The best places to talk to me are LinkedIn , Mastodon and Threads.

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Academic Appeal: The 11 Best Fonts for Academic Papers

• BY Bogdan Sandu
• 26 February 2024

Imagine settling into the rhythm of crafting your academic magnum opus—the words flow, ideas chime, yet it all hinges on how your prose meets the reader’s eye. You’re well aware that  the best fonts for academic papers  don’t just whisper to the intellect; they shout to the discerning critic in each evaluator. Here unfolds a narrative, not merely of  typography  but your academic saga’s silent ambassador.

In forging this guide, I’ve honed focus on one pivotal, often underestimated player in the academic arena:  font selection .

Navigate through this roadmap and emerge with a treasure trove of  legible typefaces  and format tips that ensure your paper stands hallmark to clarity and professionalism.

Absorb insights—from the revered  Times New Roman  to the understated elegance of  Arial —paired with indispensable  formatting nuggets  that transcend mere compliance with  university guidelines .

Dive deep, and by article’s end, unlock a dossier of sage advice, setting your documents a class apart in the scrutinous world of academic scrutiny. Here’s to  typography  serving not just as a vessel but as your ally in the scholarly discourse.

The Best Fonts for Academic Papers

Traditional choices and their limitations, times new roman : ubiquity and readability vs. overuse.

What’s the most accepted font for academic journal submissions?

Journals often have  publisher requirements — Times New Roman, 12-point  font frequently tops the list. When in doubt, consult the submission guidelines to avoid the faux pas of using a non-standard font.

What are some lesser-known fonts suitable for academic writing?

Branch out with  Garamond —it’s elegant and legible.  Book Antiqua  also offers that classic vibe without being overused. Exploring beyond  Microsoft Word’s  default list can distinguish your work subtly yet effectively.

How crucial is font choice in peer-reviewed papers?

Font choice is your paper’s handshakes—first impressions matter.  Legible typefaces  support peer reviewers in engaging thoroughly with content. Underestimating font’s impact is akin to ignoring the dress code at a gala—noticeable and potentially distracting.

Do different academic fields prefer specific fonts?

Indeed, fields pivot on tradition. Humanities often herald  Times New Roman ; STEM fields lean into  Arial’s clean lines  for clarity in data-driven documents. Match your font to the field’s ethos.

Can I be creative with fonts in my academic paper?

Creativity in academics lives in content, less in formatting. Keep the font choice within the bounds of  readability  and  academic institution guidelines . Let your research shout, not your typeface. Originality lands in your discoveries, not font escapades.

Stepping back, eyeing the canvas of our discourse on  the best fonts for academic papers , it’s clear:  Typography  wields quiet power—shaping perception, ensuring clarity, the unsung hero in the story of academic success.  Serif fonts —with Times New Roman at the helm—have held the baton in traditional scholarly compositions, swaying with the rhythm of  legibility  and  convention .

Yet, amidst the staccato of intellectual exchange, the modern beats of  Arial  and  Calibri  press forth—bringing sleekness to tables and lucidity to data. Foreground this takeaway: your words, the intense research, the hypotheses—they’re the protagonists.  Fonts , however, set the stage, inviting eyes to linger longer, to comprehend without strain.

So, equip your arsenal with the  typographic titans  treasured in these halls of learning. Their silent echo underscores your voice, bearing it aloft through the critical gaze of peers and mentors. With this map in hand, chart a course through the vast sea of academia—poised to make your indelible mark.

If you liked this article about  the best fonts for academic papers , you should check out this article about  the best fonts for accessibility .

There are also similar articles discussing  the best fonts for children’s books ,  the best fonts for neon signs ,  the best fonts for vinyl lettering , and  the best fonts for invitations .

And let’s not forget about articles on  the best fonts for Google Slides ,  the best fonts for mobile apps ,  the best fonts for blogs , and  the best fonts for magazines .

Also, you can check here the version of this article about fonts for academic papers in German .

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20 of the best font families to supercharge your typography

Make your font folder work harder with our guide to versatile font families (and superfamilies) that keep on giving.

The best font families are versatile resources for designers. It can be hard to choose just the right typography for a project: do you go for something unique to give the piece character, or is it better to opt for something neutral that doesn’t overwhelm the rest of the design?

In order to be consistent within a project without becoming repetitive, it can help if a typeface offers a large font family that cover different styles, weights and widths. The notion of an extended, organised type family (or 'superfamily' if it contains different classifications, such as a serif and a sans serif) is a relatively new concept, and has only been around as we know it today for just over a century.

But nowadays there are plenty to choose from. Below, we've rounded up 20 of the best versatile type families to help with all manner of design projects. See our pick of the best free fonts and the best font pairings for more options.

The best font families for versatility

01. ff meta.

• Download FF Meta from FontShop

Originally developed by Erik Spiekermann for the Deutsche Bundespost (West German Post Office), Meta was released commercially in 1991 on the FontFont label. Intended to be the "antithesis of Helvetica ", it comes in serif, sans serif and headline versions, and hairline, thin, light, normal, book, medium, bold and black weights.

02. Knockout

• Download Knockout from Typography.com

Renowned New York foundry Hoefler & Frere-Jones likes its metaphors. Knockout is available in nine boxing-themed widths, from flyweight to sumo - and its four weights are themed too, ranging from junior to ultimate. If the full range of styles is overwhelming, they're split into seven 'series' packs to fulfil different creative needs.

03. ITC Franklin Gothic

• Download ITC Franklin Gothic from MyFonts

Another wonderfully versatile type family, ITC Franklin Gothic supplements the standard book, medium, semi and heavy weights with both condensed and compressed weights too. The typeface boasts plenty of impact when used large for display purposes, and has been used extensively both in advertising and for newspaper headlines.

• Download Minion from MyFonts

Despite being designed in 1990, Adobe' s elegant serif face Minion was influenced by Renaissance era typography. It takes its name from the traditional naming system for type sizes: ‘minion’ is a measure in-between ‘nonparell’ and ‘brevier’. Other multi-weight varieties include Minion Expert and Minion Pro.

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05. Mrs Eaves / Mr Eaves

• Download Mrs Eaves / Mr Eaves from Emigre

Okay, so technically two separate typefaces - but as their names imply, it's a marriage made in heaven. Designed by Zuzana Licko for Emigre in 1996, delectable serif Mrs Eaves is named after John Baskerville's wife, while its sans serif partner followed thanks to popular demand in 2009. Both also come in an XL display variety.

• Download Soho from MyFonts

Designed by Sebastian Lester for Monotype in 2007, Soho is a relatively rare beast: a hugely versatile slab serif font family. Its enviable range of weights - including thin, extra light, light, regular, medium, bold, extra bold, heavy and ultra - are supplemented further with condensed, compressed and extended varieties.

• Download Thesis from LucasFonts

Lucas de Groot of LucasFonts developed this typeface between 1994 and 1999. Within the Thesis superfamily are TheSans, TheSans Mono, TheSans Typewriter, TheSans Hair, TheSerif, TheMix, TheMix Mono and TheAntigua, each in various weights. Each comes in three collections, ranging from Classic - seven varieties in eight different weights - to the more pared-back Basic and Office versions.

08. FF Scala

• Download FF Scala from Dfonts

Another FontFont superfamily, this time by Martin Majoor, FF Scala was originally developed for use by a Dutch music venue and later released commercially. The serif version came out in 1990, followed by the sans serif in 1992 - both feature true small capitals, a broad range of ligatures, and both lining and non-lining figures.

• Download Gotham from Typography.com

One more from the masters of versatility, Hoefler & Frere-Jones: Gotham is a practical workhorse typeface that's influenced by and celebrates the urban typography that surrounds us, from neon signage to hand-painted lettering on trucks. It comes in eight weights, as well as narrow, extra narrow and condensed varieties, all with complementary italics.

10. ITC Century

• Download ITC Century from MyFonts

This is Tony Stan's 1970s interpretation of a typeface originally designed for The Century magazine at the end of the 19th century as a more practical, scalable alternative to the popular Bodoni-style faces popular during that period. It comes in four weights - light, book, bold and ultra - plus a condensed version.

• Download Myriad from MyFonts

Designed by Robert Slimbach and Carol Twombly for Adobe , Myriad is perhaps most famous for its role as Apple 's corporate font. The Pro version has wider language support, featuring five weights each of four widths - including condensed, semi-condensed and semi-extended - all with complementary italics of course.

12. Base 9 and 12

• Download Base 9 and 12 from Emigre

Another Zuzana Licko creation for Emigre, Base 9 and 12 is a superfamily with both serif and sans varieties, as well as a monospace version. It's designed to harmonise the relationship between screen fonts and printer fonts, designed for use at the two most popular sizes - 9-point and 12-point - and multiples thereof.

• Download Rotis from MyFonts

Named after the place he lived, Otl Aicher's pioneering hybrid typeface superfamily was completed in 1988 - three years before his tragic death in a motorbike accident. Rotis was unique at the time for including semi-serif and semi-sans varieties alongside the traditional serif and sans versions, making it particularly versatile.

• Download Agenda from Type Network

Coming in an impressive 54 font styles, Greg Thompson's Agenda type family was designed for Font Bureau in 1993 as a stylish alternative to the ubiquitous Swiss sans serif. It comes in thin, light, regular, medium, semi-bold, bold and black, with condensed, extra-condensed and ultra-condensed varieties.

• Download Fedra from Typotheque

Developed by Typotheque's Peter Bil'ak, Fedra is a superfamily that boasts two different serif varieties alongside the original sans, plus a mono-spaced version too. It was first commissioned in 2000 for an insurance company, followed in 2004 by serif A - which matches the proportions of the original - and serif B, which is proportioned differently.

16. FF Quadraat

• Download FF Quadraat from Type By

The third FontFont representative on the list, designed by Fred Smeijers, is another superfamily. It includes display, headline, sans, sans display and sans mono versions under the same Quadraat umbrella - all in six weights, from regular through to bold. It's particularly well suited to editorial and publishing applications.

17. Chronicle

• Download Chronicle from Typography.com

This Hoefler & Frere-Jones' newspaper typeface is a sterling example of the Scotch Transitional serif, so named after 18th century Scottish type founders Alexander Wilson and William Miller. Chronicle Text comes in four 'grades' to allow for different paper stocks, while the display is more expansive - three widths, six weights and a 'deck' version for sizes in between display and text.

18. ITC Officina

• Download ITC Officina from MyFonts

There's an impressive range of fonts in this superfamily that Erik Spiekermann designed in the '90s for ITC. Based on the premise that photocopiers, fax machines and poor-quality printers can deteriorate type, Officina has open counters and strong slab serifs, and is available in five weights, from book up to black.

19. Antenna

• Download Antenna from Type Network

There's a pleasing sense of symmetry to Cyrus Highsmith's creation for Font Bureau, with strong emphasis placed on the repeat and variation of counter shapes within the spacing between letters. The sans serif comes with seven weights in four widths, including compressed, condensed and extra condensed.

• Download Lucida from MyFonts

Closing our list of versatile font families is Lucida. Charles Bigelow and Kris Holmes designed this hugely varied typeface superfamily in 1985. Uniquely for this list, as well as serif (Lucida Fax and Lucida Bright) and sans serif (Lucida Sans, Lucida Sans Unicode, Lucida Grande and Lucida Sans Typewriter), there are also several scripts - including blackletter, calligraphy and handwriting variants.

For more type options, see our pick of the best free graffiti fonts and the tree tattoo fonts . We also have an explainer, what is typography?

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Joe is a regular freelance journalist and editor at Creative Bloq. He writes news, features and buying guides and keeps track of the best equipment and software for creatives, from video editing programs to monitors and accessories. A veteran news writer and photographer, he now works as a project manager at the London and Buenos Aires-based design, production and branding agency Hermana Creatives. There he manages a team of designers, photographers and video editors who specialise in producing visual content and design assets for the hospitality sector. He also dances Argentine tango.

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8 Best Fonts for Thesis Writing to Make It Presentable

Table Of Contents

How do font plays a critical role in thesis, 8 best fonts for thesis writing, tips to choose the best font for thesis, mistakes to avoid while choosing a font, how to format your thesis perfectly.

• Can’t Write a Thesis? Let Our Experts Do It for You

When your professor assigns you a thesis, he excepts it to be perfect at the time of submission. The textual content of the document is the utmost source of information. So, while creating content, you should take care of the font selection. Choosing the best font for the thesis provides an attractive appearance and preserves the aesthetic value of your document. Also, the font professionally presents information. Choosing font in both ways (either online or printed form) of the thesis is crucial. If you are submitting it online, then the font makes a difference in the readability. If you are providing it in the printed form, then the font reflects professionalism.

You May Like This: The Complete Guide to Breaking Down a 10000-Word Dissertation

Sometimes, it is questioned that why the font is necessary. Well, the font is as mandatory as the content. You should know that everything is in proper fonts   for the thesis.

• To highlight headings, you can use bold and stylish fonts.
• To highlight the subheadings, you can use italic and cursive fonts.
• The information that you want to convey must be in a simple and decent font.

This particular formula will grab the reader’s attention to your document. If you don’t focus on the font, then your document will look imprudent. It can create a bad impact on your professor. If you don't show creativity while writing, then the reader will get bored and won’t show interest in your document. So, make sure to always use different fonts in the thesis according to the needs. Now, let’s talk about some of the most appropriate fonts included in the thesis.

This Might Be Helpful: A to Z of Assignment Writing: Everything You Need to Know About It

A thesis can look presentable if you include appropriate fonts in it. The following fonts will create a positive impression on your professor. Let’s take a look:

• Times New Roman Times New Roman was particularly designed for Times Newspaper for London. This font has a separate and different value in a formal style. Most of the universities and colleges suggest students use this font in a document.
• Georgia Georgia font was designed in 1883, especially for Microsoft Corporation. This is the best font for the students who want to submit the document online. It is preferred for the elegant and small appearance for low-resolution screens.
• Serif Serif is originated from Roman from a font written on a stone. Earlier, this font was not accepted universally. The specialty of this font is that every alphabet has a small line or stroke attached to the end of the larger stroke.
• Garamond Garamond is usually used for book printing and body text. If you want to write the main body or long paragraphs, then you can use this font. It is simple and easy to read.
• Cambria Cambria is founded by Microsoft and later distributed with Windows and Office. This font is the easiest to read in a hurry because it contains spaces and proportions between the alphabets. This is suitable for the body and the long sentence.
• Century Gothic Century Gothic is basically in the geometric style released in 1881. This font has a larger height instead of other fonts. If the university allows you to choose the font of your own choice, you can go for this one.
• Palatino Linotype Palatino Linotype font is highly legible for online documents. It enhances the quality of the letter when displayed on the screen. This font is majorly used for books, periodicals, and catalogs.
• Lucida Bright Lucida Bright has a unique quality that the text looks larger at smaller point sizes also. This font can fit words on a single line. To write a thesis, you can choose this font easily.

After getting brief knowledge about the fonts, let's now come to the tips to choose the best font for the thesis. Here are some major key points that you should follow while choosing a font.

• Make sure your font looks attractive.
• It should match your tone.
• Headings and subheadings must be highlighted.
• It should not look congested.
• Avoid choosing complicated or fancy fonts.

Take a Look: How to Write a Good Thesis Statement for an Essay? Best Tips & Examples

Students make some mistakes while choosing a font, which the professor dislikes the most. So, to avoid those, keep the below points in mind.

• Don’t choose fonts on your likes and dislikes.
• Put the reader's preference first and then choose the font.
• Avoid too many fonts as they make the work look unorganized.
• Make sure all fonts match your document instead of making it look like a disaster.
• Choose different fonts for titles, subtitles, paragraphs.

When preparing the thesis for submission, students must follow strict formatting requirements. Any deviations in these requirements may lead to the rejection of the thesis.

• The language should be perfect.
• The length of the thesis should be divided appropriately among the sections.
• The page size, margins, and spacing on the page should be correct.
• The font and point size should be displayed correctly.

Can't Write a Thesis? Let Our Experts Do It for You

The experts of Assignment Prime warmly welcome everyone who seeks help with thesis writing service . A thesis is one of the toughest academic papers to write for students. It takes a great amount of time, rigorous research, and perfect writing skills to complete it. To make this easy for you, the experts are here to help you write the thesis and the font selection for every section.

We are known for offering unmatched assistance with thesis and dissertation writing to students across the globe. Our professionals deliver a well-researched and informative academic paper before the deadline. We also provide help to students in research, topic selection, editing, proofreading, etc. So, stop searching for help and quickly start ordering without any delay to avail the best features of Assignment Prime . We are waiting to serve you with the best!

You may like this : How to write a discussion in dissertation

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Thesis Font Family

Thesis provides the user with three compatible styles – TheSans, TheMix and TheSerif – in an optically harmonious range of eight weights, including real italics for each weight. Consisting of three different font styles (TheSans, The Serif, & The Mix) the Thesis superfamily provides YVC designers with the flexibility and freedom to create interesting typographic layouts while staying within YVC’s font family. With 96 separate variations within these three font families, this robust collection should be used whenever possible. In situations where you are unable to use the Thesis fonts, please use our secondary font family, Open Sans.

Part of the Thesis superfamily, TheSans is a slightly varying weight sanserif font with 48 variations. Characterized by its open appearance and tall x-height, TheSans is a very readable font and should be considered the standard font to use in publications.

Part of the Thesis Superfamily, TheSerif is a slightly varying weight slab style serif font with 16 different variants. This font may be used in conjunction with TheSans to bring emphasis or style to a particular type element, or can be used as an alternative font.

Part of the Thesis Superfamily, TheMix incorporates elements from both TheSans and TheSerif. Using the uppercase letters from TheSans and lowercase letters from TheSerif this font gives a unique look that works great as subheadings under TheSans.

Alternative Typeface

When the primary typeface is unavailable use YVC’s secondary typeface, Open Sans. This font is open source and provided by Google Fonts . Open Sans is readily available on most YVC computers.

Calibri and Cambria may also be used to replace Open Sans in applications like Word and PowerPoint to improve accessibility.

• Basic remarks
• Bitmap fonts
• Page layout
• Bibliography
• Footnote citing

Tips on Writing a Thesis in LaTeX

At the beginning of the thesis typesetting I used only one typeface — default LaTeX font, computer modern roman (CMR; see also Latin Modern ):

After several months of working with 11pt CMR both on screen and paper, I have decided to look for some alternative, because CMR text appeared to me too " light ". A brief search resulted in finding a good collection of free LaTeX fonts, where besides the font appearance one can get information on the installation and activation of a particular font in LaTeX. After few weeks of trying different fonts from that collection, I have stopped my choice on Bitstream Charter (Charter BT) as the font for the "body" text:

Compared to other fonts, one of the things I really like in Charter is its good scalability but I would not say this about bold Charter, at least scalability of particular characters on screen . As a result, Charter has a relatively nice appearance on the screen at different magnification levels, which are typical if you work with PDF file in window or in "fit width" / "fit visible" / etc. display modes. The good scalability can be attributed both to the font "heaviness" and the design of Charter, which was optimized for low resolution laser printers.

The only thing I could complain about Charter is its "fancy" appearance of math :) which I did not like at all:

I was looking for some alternative for the math typesetting (i.e., text placed between $ characters, and in the equation environment ) and finally decided to stay with the original CMR version of the math:

As you see, use of the two aforementioned commands allows to typeset main text with Charter while math with CMR. The expert option of the mathdesign package can be omitted, but in this case I had issue with small capital characters (mainly used for author names in bibliography ) — they were replaced by the normal ones.

After having some experience with the combination of Charter and CMR for text and math respectively, I can point out the following problems inherent to such combination of fonts with different weight :

• writer has to decide which numbers to process as a normal text and which in math mode: the choice is not always trivial, and this most likely will result in different (CMR/Charter) typesetting of numbers in situations with similar context.

Greek "mu" story

After switching the math mode font I have faced issues with Greek symbols which had to be typeset in the main (non-math) text. The issues occurred because Greek symbols are typically typeset in LaTeX via math mode (which was in CMR instead of Charter). A particular example of using Greek symbol in the main text was Greek non-italic "mu" (μ) typeset in Charter to indicate prefix "micro-" in the text. The solutions I have found suggested to use packages upgreek , gensymb , and/or textcomp together with \upmu and \textmu commands. Unfortunately, none of these combinations gave positive result, and LaTeX produced either non-italic CMR or italic Charter Greek mu:

After trying different approaches, I came up with the following solution:

The idea behind the last command set is to define a new command ( \charmu ) which locally changes math font from CMR to Charter and types "mu". With the \DeclareMathVersion { ... } command (see p. 13 in LaTeX 2e font selection ) a new math font version mathchartertext is defined, \SetSymbolFont { ... } customizes the mathchartertext to have non-italic Charter, and \newcommand { \charmu }{ ... } specifies the new command to be used to enter Greek "mu" with the font settings of mathchartertext . The presented solution is probably not the most elegant one :), but this is only how I managed to get it working.

The limitation of \charmu is that it prints only the predefined Greek character ("mu"). After the following modification any Greek character can be printed as non-italic Charter:

The command \charmu (or \gchar ) does not work in the titles of references in the bibliography . The workaround here is to use \mathversion { mathchartertext } right before \printbibliography command (which actually outputs bibliographic records cited in the main text), and to use standard $ \mu $ to get Charter Greek "mu" in the titles of bibliographic records.

In addition to the body text and math mode, I decided to change typeface of the headings (i.e., titles of chapters, sections, sub-, and subsubsections) to the font without serifs (also called sans-serif font). This was done because the headings were typeset in bold and have font sizes larger than the body text; in my opinion serifs of the main font (Charter) in this case should be avoided (actually, bold headings without serifs is a common practice: 1 , 2 , 3 ). To customize the the headings font I have employed titlesec package. Before proceed to the sans-serif headings, I provide two examples containing commands to typeset the headings in Charter and CMR serif fonts. Charter:

Customization is done using the \titleformat command. Its second mandatory parameter ( \usefont { ... } ) actually changes the font, while the second last parameter includes

• \hspace { -0.4pt }  — spacing before the section number ("5.2"),
• \Large  — adjust the font size (notice the space after it),
• \thesection  — section counter (prints the section number),
• \hspace { 0.6pt }  — additional horizontal spacing between the section number and the following section title. (See also notes on spacing .)

The above code can be modified to typeset headings with CMR serif font:

After looking in tug.dk font collection for a suitable serif font for headings, I have stopped my choice at TeX Gyre Heros :

The chosen TeX Gyre Heros is the font not only without serifs, but also has heavier weight compared to Charter — this results in a good visual separation of the headings from the rest text making TeX Gyre Heros a good companion for the body text typeset with Charter. In addition to TeX Gyre Heros, reader may take a look at the bold version of Computer Modern Sans Serif as a candidate for the headings font.

Chapter title font

As stated in its documentation , titlesec package replaces original LaTeX macroses for the heading commands (i.e., \chapter , \section , etc.) which requires assignment of all settings defining the heading command, even if you want to change only one of it (for example, font). This can be seen in the code blocks above where in order to change the heading font with \titleformat command ( \usefont { OT1 }{ cmr }{ bx }{ n } \selectfont } ) settings for the heading number, its location, and its font size were given too ( { \hspace { -0.4pt } \Large \thesection\hspace { 0.6em }} ).

While preparing thesis I decided to modify (i.e., do not redefine) default \chapter macro, and did this with sectsty package. By default, after switching the document font to Charter each chapter title appeared like this:

As discussed above , sans-serif TeX Gyre Heros font was chosen for the headings. Its activation for the chapter titles was done using the following addition to the preamble commands in the code block above:

where not only heading font was changed ( \usefont { T1 }{ qhv }{ b }{ n } \selectfont } ), but also size of the chapter title "Numerical methods" was made smaller using \huge command.

The last command set changed font also in the title of the references list ( bibliography )

Font in table of contents

The commands discussed above change font in the body text, math mode, and headings (including bibliography), but have no influence on the fonts in table of contents (ToC):

Fonts in ToC can be adjusted with the package tocloft , which I actually used:

As you see, font TeX Gyre Heros was used only for the ToC title and headings typeset in bold (which are chapter ones). Charter was kept for the rest of ToC, including bold page numbers of chapters in order to preserve uniformity and flatness of the column with page numbers. Package option [subfigure] was needed to avoid conflict (error at \newcounter { lofdepth } \setcounter { lofdepth }{ 1 } ) with subfigure package if you use it; otherwise this option has to be removed.

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TheSans Font Family

TheSans Sans Serif Font is a sans serif OpenType font crafted & designed by LucasFonts . A favourite for corporate design, editorial design and new media, it comes in an astounding range of widths and weights, including a large set of hairline fonts.

This is the demo version. TheSans Sans Serif Font free for personal use, please visit his store for more other products, and buying fonts support him.

Link to purchase full version and commercial license: FULL VERSION COMMERCIAL 

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