Typeface Collection: fonts & feelings.

Experts at Monotype have curated a collection of typefaces grouped by brand values, emotions, and typographic attributes that can kickstart your font discovery.

If you’ve explored our research into the neuroscience of type, you know that language, typography, and culture are all inextricably linked. If you’re looking for fonts similar to those we tested in the research, look no further. Experts at Monotype and our Brand Designer Marie Boulanger have curated a collection of typefaces in case you’d like to evoke similar emotions in your own work.

Fonts similar to Gilroy.

With our research in the UK, we found that Gilroy Bold showed a 5% increase in the perception of honesty in a slogan. Gilroy performed particularly well for longer messaging, beating FS Jack and Cotford in many of our tests. If you’re looking for fonts with similar features, check out our selections below. 

  • Boston by Latinotype. Boston is a slightly rounded-edged typeface, which is inspired by “Trenda”—a geometric sans serif based on the uppercase of “Trend” (a Latinotype font, released in 2013). Boston is a versatile, easy-to-use, functional display font with a strong personality, especially its uppercase, which makes the designer’s work easier. Boston’s lightest and heaviest variants are ideal for display use while its middle weights work well with short and mid-length texts. This typeface has been designed especially for corporate projects, logotypes, and publishing.
  • ITC Avant Garde Gothic. ITC Avant Garde is a geometric sans serif; meaning the basic shapes are constructed from circles and straight lines, much like the work from the 1920s German Bauhaus movement. The large, open counters and tall x-heights seem friendly and help to make this family work well for short texts and headlines.
  • Noir by Mindburger Studio. While having its geometric structure, it carries an organic personality with a touch of warmth injected into each form. Noir font family ranges from light and elegant weights perfect for small text, to extremely heavy and masculine weights suited for large display sizes.
  • Qanelas by Radomir Tinkov. A modern sans serif with a geometric touch. Perfectly suited for graphic design and any display use, Qanelas could easily work for web, signage, corporate as well as editorial design.
  • Helixa by Designova. Helixa is a neo-grotesque typeface with a clean & modern design and an enduring appearance. This is a perfect choice for creating logotypes, branding, headlines, corporate identities, and marketing materials for web, digital & print alike. The typeface will be a great option for branding, logo/logotype design projects, marketing graphics, banners, posters, signage, corporate identities, and editorial design.

Fonts similar to Cotford.

When we first ran tests in the UK, setting ‘quality’ in Cotford Display Regular sparked a 13% increase in how relevant it was, a 10% increase in how memorable it was, and a 9% increase in trustworthiness. Cotford is a soulful, contemporary typeface with a few hidden surprises. Premium brands seek out serifs like Cotford for their dramatic stroke contrast and curvy, expressive features. If you’re looking for fonts with similar features, try some of the options below.

  • Glosa Display by DSType. A high-contrast typeface with plenty of style, suited for very large display sizes in magazines and newspapers. 
  • Berthold Bodoni Old Face. Berthold Bodoni Old Face is known for legibility and clarity even in the smallest sizes. Günter Gerhard Lange extensively researched and analyzed numerous original Bodoni prints when creating Berthold Bodoni Old Face. As with all of Lange’s typefaces, he adapted this new Bodoni to meet the demands of today’s composing and printing technology. 
  • FS Sally by Fontsmith. A little bit bookish, but quietly elegant and well-proportioned, FS Sally is a graceful font family. It’s a refreshingly uncomplicated design that brings sophistication to text and display type, and a distinctive aplomb to both large and small volumes of text. 
  • Monckeberg by Latinotype. Monckeberg is an expressive font with a strong personality which is based on 15th-century classic Venetian typefaces. High contrast between thin and thick strokes, calligraphic features, and diagonal stress are its most striking characteristics. 
  • Geffroy Eleonora by Ronny Studio. Geffroy Eleonora Serif is a classy eighties magazine-inspired font - with complementary italic versions. Both come in two versions one with more contrast and sharper than the other. In true Eighties style. This font looks premium and is very suitable for your design needs such as invitations, labels, logos, magazines, books, greeting or wedding cards, packaging, fashion, makeup, stationery, novels, labels, or any type of advertising purpose. 
  • Footlight by Monotype. Footlight is a highly distinctive face that began life as an italic. The designer then went on to produce the Roman weights. It is unusual to draw the italic version first, but this was done to impose a calligraphic influence on the face, and the slightly hand-drawn feel remains evident in Footlight’s Roman version. The Footlight font family is of considerable versatility and charm, its originality makes it the perfect choice for advertising and magazine typography. 

Fonts similar to FS Jack Regular.

FS Jack Regular created a 9%, 7%, and 3% increase in how innovative, prominent, and unique a single word is perceived. FS Jack Regular, while a sans, has a double-storey a and g, which ties back to a more humanist approach to constructing letters. This could explain the uplift in how prominent, innovative, and unique people judged a single word set in FS Jack Regular to be. Check out some designs with similar features below.

  • Syke by The Northern Block. Syke is a versatile, sans serif family that combines both humanist and geometric concepts. 
  • Knockout by Hoefler&Co. The Knockout typeface was designed by Jonathan Hoefler in 1994. A reimagining of Hoefler’s earlier Champion Gothic headline series, Knockout is an interpretation of the motley sans serifs that supplied American job printers starting in the late nineteenth century. Its thirty-two styles reference both the tall, condensed wood types used for posters and the miniature ‘engraver’s faces’ once used for stationery. 
  • Agilita by Linotype. Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra-thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes. 
  • Berthold StandardBerthold Standard is the name that Berthold Types uses for their version of Helvetica. Probably derived from Berthold’s phototype adaptation. Comes in 5 weights in upright and italic, plus a Diagonal style. 
  • Hedley New by moretype. Hedley New is a reconstructed relative of Hedley, originally released in 2004. Building on its clean, original, simple charm, Hedley New has grown to be an elegant, clean, usable sans. Having been completely re-drawn, with new spacing and kerning, Hedley New is now an Opentype font containing small caps, tabular, proportional and Old Style numerals and ligatures. 
  • Avion by Fenotype. Avion font family channels those cool modernist vibes yet brings something new to the table. With a slightly more rectangular approach and some clever detailing, Avion has a distinct look of its own, yet provokes a calming familiarity of neutrality and objectiveness.  

Get the fonts.

Get Boston, FS Sally, Knockout, and thousands of other fonts in Monotype Fonts.

Learn how to harness the hidden power of type.

Interested to learn more? Join our live webinar on December 5 to hear about the research and learn how to harness the emotional influence of typographic attributes; linguistic and cultural considerations for different regions; and strategies for design and branding that align seamlessly with the emotional tone and project brief requirements. Save your seat here.