Font index

FS Untitled

is the interactive type
Thin 100
Thin 100
Thin 100 Italic
Thin 100 Italic
Thin 150
Thin 150
Thin 150 Italic
Thin 150 Italic
UltraLight 200
UltraLight 200
UltraLight 200 Italic
UltraLight 200 Italic
UltraLight 250
UltraLight 250
UltraLight 250 Italic
UltraLight 250 Italic
Light 300
Light 300
Light 300 Italic
Light 300 Italic
Light 350
Light 350
Light 350 Italic
Light 350 Italic
Regular 400
Regular 400
Regular 400 Italic
Regular 400 Italic
Regular 450
Regular 450
Regular 450 Italic
Regular 450 Italic
Medium 500
Medium 500
Medium 500 Italic
Medium 500 Italic
Medium 550
Medium 550
Medium 550 Italic
Medium 550 Italic
Bold 700
Bold 700
Bold 700 Italic
Bold 700 Italic
Bold 750
Bold 750
Bold 750 Italic
Bold 750 Italic
Developer-friendly
Developer-friendly

The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy.

There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles.

And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work.

Developer-friendly
Easy on the pixels
Easy on the pixels

‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting.

Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character.

Jason Smith
Easy on the pixels
Screen beginnings
Screen beginnings

FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics.

The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms.

Screen beginnings
Look out for…
Look out for…

FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals.

Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Look out for…
Lowercase
Uppercase
Figures & Currency (Tabular Lining)
Figures & Currency (Proportional Lining)
Mathematical Forms
Superiors & Fractions
Punctuation & Marks
Ligatures
Discretionary Ligatures
Accents