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SansBattleGlowing EyeFatalOverworldThe easiest enemy. Can only deal 1 damage.Character InformationAlso known assans the skeleton (Himself)LAZY BONES (Papyrus)Sansy (Drunk Bun)Smiley Trashbag (Flowey)First AppearanceSnowdin ForestRelationshipsPapyrus (brother)Toriel (close friend)Alphys (friend)LeitmotifSansBattle InformationHP1 (Scripted to die in one hit)AT1 (No invulnerability after being hit, damage is converted into KR)DF1 (Dodges every attack for 22 turns)EXP On KillAuto LV up to 20GOLD On Win0ACTsCheck

In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes.[1] Sans-serif typefaces tend to have less stroke width variation than serif typefaces. They are often used to convey simplicity and modernity or minimalism. For the purposes of type classification, sans-serif designs are usually divided into these major groups: Grotesque and Neo-grotesque, Geometric, Humanist and Other or mixed.

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Sans-serif typefaces have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word sans, meaning "without" and "serif" of uncertain origin, possibly from the Dutch word schreef meaning "line" or pen-stroke.[2] In printed media, they are more commonly used for display use and less for body text.

Before the term "sans-serif" became standard in English typography, a number of other terms had been used. One of these terms for sans-serif was "grotesque", often used in Europe, and "gothic", which is still used in East Asian typography and sometimes seen in typeface names like News Gothic, Highway Gothic, Franklin Gothic or Trade Gothic.

For the purposes of type classification, sans-serif designs are usually divided into three or four major groups, the fourth being the result of splitting the grotesque category into grotesque and neo-grotesque.[3][4]

This group features most of the early (19th century to early 20th) sans-serif designs. Influenced by Didone serif typefaces of the period and sign painting traditions, these were often quite solid, bold designs suitable for headlines and advertisements. The early sans-serif typefaces often did not feature a lower case or italics, since they were not needed for such uses. They were sometimes released by width, with a range of widths from extended to normal to condensed, with each style different, meaning to modern eyes they can look quite irregular and eccentric.[5][6]

Grotesque typefaces have limited variation of stroke width (often none perceptible in capitals). The terminals of curves are usually horizontal, and many have a spurred "G" and an "R" with a curled leg. Capitals tend to be of relatively uniform width. Cap height and ascender height are generally the same to produce a more regular effect in texts such as titles with many capital letters, and descenders are often short for tighter line spacing.[7] They often avoid having a true italic in favor of a more restrained oblique or sloped design, although at least some sans-serif true italics were offered.[8][9]

Examples of grotesque typefaces include Akzidenz-Grotesk, Venus, News Gothic, Franklin Gothic, IBM Plex and Monotype Grotesque. Akzidenz Grotesk Old Face, Knockout, Grotesque No. 9 and Monotype Grotesque are examples of digital fonts that retain more of the eccentricities of some of the early sans-serif types.[10][11][12][13]

Geometric sans-serif typefaces are based on geometric shapes, like near-perfect circles and squares.[18] Common features are a nearly-circular capital 'O', sharp and pointed uppercase 'N' vertices, and a "single-storey" lowercase letter 'a'. The 'M' is often splayed and the capitals of varying width, following the classical model.

Humanist sans-serif typefaces take inspiration from traditional letterforms, such as Roman square capitals, traditional serif typefaces and calligraphy. Many have true italics rather than an oblique, ligatures and even swashes in italic. One of the earliest humanist designs was Edward Johnston's Johnston typeface from 1916, and, a decade later, Gill Sans (Eric Gill, 1928).[26] Edward Johnston, a calligrapher by profession, was inspired by classic letter forms, especially the capital letters on the Column of Trajan.[27]

Frutiger, from 1976, has been particularly influential in the development of the modern humanist sans genre, especially designs intended to be particularly legible above all other design considerations. The category expanded greatly during the 1980s and 1990s, partly as a reaction against the overwhelming popularity of Helvetica and Univers and also due to the need for legible computer fonts on low-resolution computer displays.[30][31][32][33] Designs from this period intended for print use include FF Meta, Myriad, Thesis, Charlotte Sans, Bliss, Skia and Scala Sans, while designs developed for computer use include Microsoft's Tahoma, Trebuchet, Verdana, Calibri and Corbel, as well as Lucida Grande, Fira Sans and Droid Sans. Humanist sans-serif designs can (if appropriately proportioned and spaced) be particularly suitable for use on screen or at distance, since their designs can be given wide apertures or separation between strokes, which is not a conventional feature on grotesque and neo-grotesque designs.

Due to the diversity of sans-serif typefaces, many do not exactly fit into the above categories. For example, Neuzeit S has both neo-grotesque and geometric influences, as does Hermann Zapf's URW Grotesk. Whitney blends humanist and grotesque influences, while Klavika is a geometric design not based on the circle. Sans-serif typefaces intended for signage, such as Transport and Tern (both used on road signs), may have unusual features to enhance legibility and differentiate characters, such as a lower-case 'L' with a curl or 'i' with serif under the dot.[34]

A particular subgenre of sans-serifs is those such as Rothbury, Britannic, Radiant, and National Trust with obvious variation in stroke width. These have been called 'modulated', 'stressed' or 'high-contrast' sans-serifs. They are nowadays[when?] often placed within the humanist genre, although they predate Johnston which started the modern humanist genre. These may take inspiration from sources outside printing such as brush lettering or calligraphy.[35]

Letters without serifs have been common in writing across history, for example in casual, non-monumental epigraphy of the classical period. However, Roman square capitals, the inspiration for much Latin-alphabet lettering throughout history, had prominent serifs. While simple sans-serif letters have always been common in "uncultured" writing and sometimes even in epigraphy,[36] such as basic handwriting, most artistically-authored letters in the Latin alphabet, both sculpted and printed, since the Middle Ages have been inspired by fine calligraphy, blackletter writing and Roman square capitals. As a result, printing done in the Latin alphabet for the first three hundred and fifty years of printing was "serif" in style, whether in blackletter, roman type, italic or occasionally script.

Towards the end of the eighteenth century neoclassicism led to architects increasingly incorporating ancient Greek and Roman designs in contemporary structures. Historian James Mosley, the leading expert on early revival of sans-serif letters, has found that architect John Soane commonly used sans-serif letters on his drawings and architectural designs.[43][47] Soane's inspiration was apparently the inscriptions dedicating the Temple of Vesta in Tivoli, Italy, with minimal serifs.[43]

These were then copied by other artists, and in London sans-serif capitals became popular for advertising, apparently because of the "astonishing" effect the unusual style had on the public. The lettering style apparently became referred to as "old Roman" or "Egyptian" characters, referencing the classical past and a contemporary interest in Ancient Egypt and its blocky, geometric architecture.[43][48]

Mosley writes that "in 1805 Egyptian letters were happening in the streets of London, being plastered over shops and on walls by signwriters, and they were astonishing the public, who had never seen letters like them and were not sure they wanted to".[37] A depiction of the style, as an engraving, rather than printed from type, was shown in the European Magazine of 1805, described as "old Roman" characters.[44][49] However, the style did not become used in printing for some more years.[g] (Early sans-serif signage was not printed from type but hand-painted or carved, since at the time it was not possible to print in large sizes. This makes tracing the descent of sans-serif styles hard, since a trend can arrive in the dated, printed record from a signpainting tradition which has left less of a record or at least no dates.)

Around 1816, William Caslon IV produced the first sans-serif printing type in England for the Latin alphabet, a capitals-only face under the title 'Two Lines English Egyptian', where 'Two Lines English' referred to the typeface's body size, which equals to about 28 points.[55][56] Although it is known from its appearances in the firm's specimen books, no uses of it from the period have been found; Mosley speculates that it may have been commissioned by a specific client.[57][i]

A second hiatus in interest in sans-serif appears to have lasted for about twelve years, until Vincent Figgins' foundry of London issued a new sans-serif in 1828.[59][60][61] David Ryan felt that the design was "cruder but much larger" than its predecessor, making it a success.[62] Thereafter sans-serif capitals rapidly began to be issued from London typefounders.

Much imitated was the Thorowgood "grotesque" face of the early 1830s. This was arrestingly bold and highly condensed, quite unlike the classical proportions of Caslon's design, but very suitable for poster typography and similar in aesthetic effect to the (generally wider) slab serif and "fat faces" of the period. It also added a lower-case. The term "grotesque" comes from the Italian word for cave, and was often used to describe Roman decorative styles found by excavation, but had long become applied in the modern sense for objects that appeared "malformed or monstrous".[7] The term "grotesque" became commonly used to describe sans-serifs. 9af72c28ce