Best Fonts for Websites: 25 Free Fonts for Websites
The best fonts for websites are not the ones you’ll see in a magazine or newspaper. These fonts, which are typically sans-serif, are optimized in the different ways people view websites today.
Long gone are the days when all of us were viewing websites on the same size CRT monitor. Some of your visitors will be reading your posts on smartphones while others may be viewing them on large, 50-inch LCD panels. Fonts need to be optimized for legibility at various screen sizes before they’re optimized for style.
We hope you enjoy this list of 25 best fonts for websites.
1. Open Sans
Open Sans is a sans-serif font designed by Steve Matteson, a prominent American typeface designer, and commissioned by Google. Google has stated this font was designed to be “optimized for legibility across print, web and mobile interfaces.” The font comes in 10 different formats and is licensed under Version 2.0 of the Apache License.
Download from Google Fonts | Download from Font Squirrel
2. Quicksand
Quicksand is a sans-serif font by Andrew Paglinawan, a graphic designer with years of experience in the logo design, print design, and packaging design industries. The font comes in 7 different styles on Font Squirrel and is licensed under Version 1.1 of the SIL Open Font License.
Download from Google Fonts | Download from Font Squirrel
3. Roboto
Roboto is a sans-serif font designed by Christian Robertson and commissioned by Google as the primary typeface for the Android operating system. The font comes in up to 18 different styles depending on where you download it from and is licensed under Version 2.0 of the Apache License.
Download from Google Fonts | Download from Font Squirrel
4. Aller
Aller is a sans-serif font designed by Dalton Maag, Ltd., a London-based typeface design company who has been in business since 1991. The font comes in seven different styles and is licensed under Version 1.00 of the Aller License, the company’s own Free License Agreement.
Download from Font Squirrel
5. Raleway
Raleway is a sans-serif font originally designed by Matt McInerney of The League of Moveable Type and later expanded by Pablo Impallari and Rodrigo Fuenzalida of Impallari Type. The font comes in 18 different styles and is licensed under Version 1.10 of the SIL Open Font License.
Download from Google Fonts | Download from Font Squirrel
6. Lato
Lato, the Polish word for “summer,” is a sans-serif font designed by Warsaw-based designer ?ukasz Dziedzic. The font was published by Dziedzic’s company tyPoland with support from Google. The font comes in over 18 different styles on Font Squirrel and is licensed under Version 1.10 of the SIL Open Font License.
Download from Google Fonts | Download from Font Squirrel
7. PT Sans
PT Sans was designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov of ParaType. It was developed as part of the Public Types of Russian Federation project, which celebrated the 300-year anniversary of the Civil Font, released by Peter the Great sometime between the years of 1708 and 1710. The font comes in 8 styles on Font Squirrel and is licensed under Version 1.00 of the ParaType PT Sans Free Font License.
Download from Google Fonts | Download from Font Squirrel
8. Oswald
Oswald is a sans-serif font designed by Vernon Adams. The font is a revamped version Alternate Gothic style and has been optimized for digital use. The font comes in 15 different styles on Font Squirrel and is licensed under Version 1.10 of the SIL Open Font License.
Download from Google Fonts | Download from Font Squirrel
9. League Gothic
League Gothic is a sans-serif display font designed by The League of Moveable Type. The font is a revival of the design team’s favorite classic font Alternate Gothic No.1, which was released in 1903. The revival not only opens the font up for use in the open-source world, it also makes it compatible for the digital era. The font comes in four styles and is licensed under Version 1.10 of the SIL Open Font License.
Download from Font Squirrel
10. Caviar Dreams
Caviar Dreams is a sans-serif font designed by Nymphont, a freelance web and graphic designer by the name of Lauren Thompson. The font comes in four styles and is licensed under Version 1.00 of the Nymphont License.
Download from Font Squirrel
11. Source Sans Pro
Source Sans Pro is a sans-serif font designed by Paul D. Hunt and commissioned by Adobe for use on user interfaces. It was designed as part of Adobe’s first open-source typeface family. The font comes in 12 styles and is licensed under Version 1.10 of the SIL Open Font License.
Download from Google Fonts | Download from Font Squirrel
12. Titillium
Titillium is a sans-serif font designed as part of an ongoing open-source project “inside the Accademia di Belle Arti di Urbino as a didactic project Course Type design of the Master of Visual Design Campi Visivi.” The font comes in 15 styles on Font Squirrel and is licensed under Version 1.10 of the SIL Open Font License.
Download from Google Fonts | Download from Font Squirrel
13. Montserrat
Montserrat is a sans-serif font designed by Julieta Ulanovsky. The designer drew inspiration from 20th century posters and signs in the urban neighborhoods of Buenos Aires to design this typeface. It comes in 8 styles on Font Squirrel and is licensed under Version 1.10 of the SIL Open Font License.
Download from Google Fonts | Download from Font Squirrel
14. Museo Slab
Museo Slab is a slab-serif font designed by Exljbris. It comes in two styles and is licensed under the Exljbris Font License.
Download from Font Squirrel
15. Exo
Exo is a “contemporary, geometric, sans-serif typeface” designed by Natanael Gama. The designer combined futuristic and elegant styles to create this font. It comes in 18 styles and is licensed under Version 1.10 of the SIL Open Font License.
Download from Google Fonts | Download from Font Squirrel
16. Walkway
Walkway is a sans-serif font designed by GemFonts. The font comes in nine styles and is licensed under Version 1.00 of the Freeware License.
Download from Font Squirrel
17. Colaborate
Colaborate is a sans-serif font designed by Ralph du Carrois of Carrois Type Design. The font comes in five styles and is licensed under the designer’s own free license.
Download from Font Squirrel
18. Sansation
Sansation is a sans-serif font designed by Bernd Montag. It comes in six styles and is licensed under Version 1.10 of the SIL Open Font License.
Download from Font Squirrel
19. Sofia Pro
Sofia Pro is an upgraded version of the Sofia sans-serif font, designed by Mostardesign. It has an elegant style and was designed combine modern, round trends with a harmonious flare. It comes in a single style and is licensed under Version 1.30 of the Fontspring License.
Download from Font Squirrel
20. Existence Light
Existence Light is a sans-serif font by Yeah Noah. It comes in three styles and is licensed under the designer’s own free license.
Download from Font Squirrel
21. Slabo
Slabo is a slab-serif font by Tiro Typeworks. It comes in two sizes—27px and 13px—and is meant to be used as a heading or advertising font. It’s licensed under Version 1.10 of the SIL Open Font License.
Download 27px Version from Google Fonts | Download 13px Version from Google Fonts | Download from Font Squirrel
22. Droid Sans
Droid Sans is another sans-serif font designed by Steve Matteson and commissioned by Google. It’s optimized for user interfaces due to its intent to be used with the Android operating system. It comes in two styles and is licensed under Version 2.00 of the Apache License.
Download from Google Fonts | Download from Font Squirrel
23. Ubuntu
Ubuntu is a set of sans-serif open fonts designed by Dalton Maag, Ltd. and funded by Canonical, Ltd. The font comes in nine styles on Font Squirrel and is licensed under Version 1.00 of the Ubuntu Font License.
Download from Google Fonts | Download from Font Squirrel
24. Arimo
Arimo is another sans-serif font designed by Steve Matteson. This one was designed as an “innovative, refreshing sans-serif design metrically compatible with Arial.” It comes in four styles and is licensed under Version 2.00 of the Apache License.
Download from Google Fonts | Download from Font Squirrel
25. Cabin
Cabin is a sans-serif font designed by Pablo Impallari of Impallari Type. It was designed as a modern twist on typefaces designed by Edward Johnston and Eric Gill. It comes in eight styles and is licensed under Version 1.10 of the SIL Open Font License.
Download from Google Fonts | Download from Font Squirrel
Final Thoughts
We hope this list of 25 best fonts for websites has made your quest for the perfect font a little shorter or gave you access to a few new fonts you’ve never heard of at the very least.
If you’re a graphic designer in need of a few new fonts for logos, check out this list of 22 premium fonts for logo designs.
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That again was no use: he but got another smile and a friendly look of the sort he no longer wanted. I said I thought I could gallop if Harry could, and in a few minutes we were up with the ambulance. It had stopped. There were several men about it, including Sergeant Jim and Kendall, which two had come from Quinn, and having just been in the ambulance, at Ferry's side, were now remounting, both of them openly in tears. "Hello, Kendall." We have this great advantage in dealing with Plato—that his philosophical writings have come down to us entire, while the thinkers who preceded him are known only through fragments and second-hand reports. Nor is the difference merely accidental. Plato was the creator of speculative literature, properly so called: he was the first and also the greatest artist that ever clothed abstract thought in language of appropriate majesty and splendour; and it is probably to their beauty of form that we owe the preservation of his writings. Rather unfortunately, however, along with the genuine works of the master, a certain number of pieces have been handed down to us under his name, of which some are almost universally admitted to be spurious, while the authenticity of others is a question on which the best scholars are still divided. In the absence of any very cogent external evidence, an immense amount of industry and learning has been expended on this subject, and the arguments employed on both sides sometimes make us doubt whether the reasoning powers of philologists are better developed than, according to Plato, were those of mathematicians in his time. The176 two extreme positions are occupied by Grote, who accepts the whole Alexandrian canon, and Krohn, who admits nothing but the Republic;115 while much more serious critics, such as Schaarschmidt, reject along with a mass of worthless compositions several Dialogues almost equal in interest and importance to those whose authenticity has never been doubted. The great historian of Greece seems to have been rather undiscriminating both in his scepticism and in his belief; and the exclusive importance which he attributed to contemporary testimony, or to what passed for such with him, may have unduly biassed his judgment in both directions. As it happens, the authority of the canon is much weaker than Grote imagined; but even granting his extreme contention, our view of Plato’s philosophy would not be seriously affected by it, for the pieces which are rejected by all other critics have no speculative importance whatever. The case would be far different were we to agree with those who impugn the genuineness of the Parmenides, the Sophist, the Statesman, the Philêbus, and the Laws; for these compositions mark a new departure in Platonism amounting to a complete transformation of its fundamental principles, which indeed is one of the reasons why their authenticity has been denied. Apart, however, from the numerous evidences of Platonic authorship furnished by the Dialogues themselves, as well as by the indirect references to them in Aristotle’s writings, it seems utterly incredible that a thinker scarcely, if at all, inferior to the master himself—as the supposed imitator must assuredly have been—should have consented to let his reasonings pass current under a false name, and that, too, the name of one whose teaching he in some respects controverted; while there is a further difficulty in assuming that his existence could pass unnoticed at a period marked by intense literary and philosophical activity. Readers who177 wish for fuller information on the subject will find in Zeller’s pages a careful and lucid digest of the whole controversy leading to a moderately conservative conclusion. Others will doubtless be content to accept Prof. Jowett’s verdict, that ‘on the whole not a sixteenth part of the writings which pass under the name of Plato, if we exclude the works rejected by the ancients themselves, can be fairly doubted by those who are willing to allow that a considerable change and growth may have taken place in his philosophy.’116 To which we may add that the Platonic dialogues, whether the work of one or more hands, and however widely differing among themselves, together represent a single phase of thought, and are appropriately studied as a connected series. Before entering on our task, one more difficulty remains to be noticed. Plato, although the greatest master of prose composition that ever lived, and for his time a remarkably voluminous author, cherished a strong dislike for books, and even affected to regret that the art of writing had ever been invented. A man, he said, might amuse himself by putting down his ideas on paper, and might even find written178 memoranda useful for private reference, but the only instruction worth speaking of was conveyed by oral communication, which made it possible for objections unforeseen by the teacher to be freely urged and answered.117 Such had been the method of Socrates, and such was doubtless the practice of Plato himself whenever it was possible for him to set forth his philosophy by word of mouth. It has been supposed, for this reason, that the great writer did not take his own books in earnest, and wished them to be regarded as no more than the elegant recreations of a leisure hour, while his deeper and more serious thoughts were reserved for lectures and conversations, of which, beyond a few allusions in Aristotle, every record has perished. That such, however, was not the case, may be easily shown. In the first place it is evident, from the extreme pains taken by Plato to throw his philosophical expositions into conversational form, that he did not despair of providing a literary substitute for spoken dialogue. Secondly, it is a strong confirmation of this theory that Aristotle, a personal friend and pupil of Plato during many years, should so frequently refer to the Dialogues as authoritative evidences of his master’s opinions on the most important topics. And, lastly, if it can be shown that the documents in question do actually embody a comprehensive and connected view of life and of the world, we shall feel satisfied that the oral teaching of Plato, had it been preserved, would not modify in any material degree the impression conveyed by his written compositions. breakfast in the kitchen by candle-light, and then drove the five The bargaining was interminable, something in this manner:— Then follows a long discussion in Hindi with the bystanders, who always escort a foreigner in a mob, ending in the question— There was a bright I. D. blanket spread on the ground a little way back from the fire, and she threw herself down upon it. All that was picturesque in his memories of history flashed back to Cairness, as he took his place beside Landor on the log and looked at her. Boadicea might have sat so in the depths of the Icenean forests, in the light of the torches of the Druids. So the Babylonian queen might have rested in the midst of her victorious armies, or she of Palmyra, after the lion hunt in the deserts of Syria. Her eyes, red lighted beneath the shadowing lashes, met his. Then she glanced away into the blackness of the pine forest, and calling her dog to lie down beside her, stroked its silky red head. The retreat was made, and the men found themselves again in the morning on the bleak, black heath of Drummossie, hungry and worn out, yet in expectation of a battle. There was yet time to do the only wise thing—retreat into the mountains, and depend upon a guerilla warfare, in which they would have the decided advantage. Lord George Murray now earnestly proposed this, but in vain. Sir Thomas Sheridan and other officers from France grew outrageous at that proposal, contending that they could easily beat the English, as they had done at Prestonpans and Falkirk—forgetting that the Highlanders then were full of vigour and spirit. Unfortunately, Charles listened to this foolish reasoning, and the fatal die was cast. "They said they were going for our breakfast," said Harry. "And I hope it's true, for I'm hungrier'n a rip-saw. But I could put off breakfast for awhile, if they'd only bring us our guns. I hope they'll be nice Springfield rifles that'll kill a man at a mile." "Dod durn it," blubbered Pete, "I ain't cryin' bekase Pm skeered. I'm cryin' bekase I'm afeared you'll lose me. I know durned well you'll lose me yit, with all this foolin' around." He came nearly every night. If she was not at the gate he would whistle a few bars of "Rio Bay," and she would steal out as soon as she could do so without rousing suspicion. Boarzell became theirs, their accomplice in some subtle, beautiful way. There was a little hollow on the western slope where they would crouch together and sniff the apricot scent of the gorse, which was ever afterwards to be the remembrancer of their love, and watch the farmhouse lights at Castweasel gleam and gutter beside Ramstile woods. "Yes, De Boteler," continued the lady, "I will write to him, and try to soothe his humour. You think it a humiliation—I would humble myself to the meanest serf that tills your land, could I learn the fate of my child. The abbot may have power to draw from this monk what he would conceal from us; I will at least make the experiment." The lady then, though much against De Boteler's wish, penned an epistle to the abbot, in which concession and apologies were made, and a strong invitation conveyed, that he would honour Sudley castle by his presence. The parchment was then folded, and dispatched to the abbot. "A very pretty method, truly! 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