Arial, from time to time marketed or displayed in application as Arial MT, is often a sans-serif typeface and list of laptop or computer fonts. Fonts in the Arial relatives are packaged with all variations of Microsoft Home windows from Home windows three.one onwards, a few other Microsoft application applications, Apple Mac OS X and many PostScript three laptop or computer printers.
The typeface was intended in 1982 by Robin Nicholas and Patricia Saunders, for Monotype Typography. It was designed to be metrically similar on the preferred typeface Helvetica, with all character widths similar, in order that a doc made in Helvetica may be displayed and printed the right way without getting to pay for your Helvetica license.
The Arial typeface comprises a lot of kinds: Common, Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic, Added Daring, Excess Bold Italic, Light-weight, Mild Italic, Slender, Narrow Italic, Slim Daring, Slim Daring Italic, Condensed, Light-weight Condensed, Bold Condensed, and additional Bold Condensed.
Here, we are providing you some free awesome similar fonts to Arial font family.
These are similar free fonts to Arial. We tried our best to find the best matching fonts of Arial font family.
Hope you will enjoy these fonts.
Arial Light – [Gothic A1 Light]
Arial Regular – [Ayar]
Arial Medium – [Gothic A1 Semi Bold]
Arial Bold – [Orion Esperanto Dika]
Arial Extra Bold – [Aileron Black]
Arial Black – [Archivo Black]
Free Arial Similar Fonts
Urdu Nastaliq Unicode
Urdu Nastaliq Unicode is the perfect font for all your fun designs. The subfamily is Regular. You can use the Urdu Nastaliq Unicode to create interesting designs, covers, shop and store name and logos.
The font Urdu Nastaliq Unicode is also perfect for branding projects, Homeware Designs, Product packaging – or simply as a stylish text overlay to any background image.
It is free for personal use only. Please, talk with the author for commercial use or for any support.
This typeface, designed by Max Miedinger and other project members at the Haas’sche Schriftgiesserei, has become one of the most famous and popular typefaces in the world, thanks to the marketing strategy of Stempel and Linotype. It forms an integral part of many printers and operating systems. The original letterforms of Helvetica had to be modified for the Linotype system. Over the years, Helvetica was expanded to include many different weights, but these were not coordinated with each other.
In 1983, D. Stempel AG redesigned and digitized the “Neue Helvetica” typeface for Linotype and made it a self-contained font family. Today, this family consists of 51 different font weights.
Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition – which preserves the typeface’s Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 96 fonts, consisting of three distinct optical sizes: Micro, Text and Display, all in two widths. Each one has been carefully tailored to the demands of its size.
The larger Display versions are drawn to show off the subtlety of Helvetica and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. The Micro sizes address an issue Helvetica has long faced – that of being ‘micro type challenged’. In the past, the typeface struggled to be legible at tiny sizes because of its compactness and closed apertures.
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 typeface was soon revised and released as Helvetica by Linotype AG.
As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was in some ways a radically transformed version of the original. For instance, the matrices for Regular and Bold had to be of equal widths, and therefore the Bold was redrawn at a considerably narrower proportion. During the transition from metal to phototypesetting, Helvetica underwent additional modifications. In the 1980s Neue Helvetica was produced as a rationalized, standardized version.
It is a version using URW++ font source. The family supports Western Europe, East Europe, Turkish, Baltic, and Romanian languages.
Some of the fonts have history predating Helvetica’s first release. For example, Nimbus Sans bold condensed, Nimbus Sans bold condensed (D) were dated 1940; Nimbus Sans Black Condensed, Nimbus Sans Black Condensed (D) were dated 1946.
House Industries developed this special version of Chalet for the House book project. They optimized the characters for better readability at small sizes and made the entire typeface more compact. They also added small caps, small cap figures, fractions and some useful OpenType features.
So, these are some best quality free Arial alternative fonts that are very close to the original design of Arial and some fonts are free for personal and commercial use. If you think we did great Arial alternative collections then share this post with your favorite social networks, or if you think we missed any favorite alternative to Arial, then let us know in the comment form below.
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