In typography, a sans-serif, sans serif, gothic, san serif or simply sans typeface is one that does not have the small projecting features called "serifs" at the end of strokes. The term comes from the French word sans, meaning "without". Sans-serif fonts tend to have less line width variation than serif fonts.
In print, sans-serif fonts are used for headlines rather than for body text. The conventional wisdom holds that serifs help guide the eye along the lines in large blocks of text. Sans-serifs, however, have acquired considerable acceptance for body text in Europe.
Sans-serif fonts have become the most prevalent for display of text on computer screens. This is partly because interlaced screens have shown twittering on the fine details of the horizontal serifs. Additionally, on lower-resolution digital displays, fine details like serifs may disappear or appear too large.
Before the term "sans-serif" became common in English typography, a number of other terms had been used. One of these outmoded terms for sans serif was gothic, which is still used in East Asian typography and sometimes seen in font names like Century Gothic or Trade Gothic.
Sans-serif fonts are sometimes, especially in older documents, used as a device for emphasis, due to their typically blacker type color.
Sans-serif forms can be found in Latin, Etruscan, and Greek inscriptions, for as early as 5th century BC. The sans serif forms had been used on stoichedon Greek inscriptions.
Early Non-Latin types
The first known usage of Etruscan sans-serif foundry types was from Thomas Dempster's De Etruria regali libri VII (1723). Later at about 1745, Caslon foundry made the first sans-serif types for Etruscan languages, which was used by University Press, Oxford, for pamphlets written by Etruscan scholar John Swinton.
Revival of Latin characters
According to James Mosley's Typographica journal titled The Nymph and the Grot: the revival of the sanserif letter, the sans-serif letters had appeared as early as 1748, as an inscription of Nymph in the Grotto in Stourhead. However, it was classified as an experiment rather than a sign of wide-scale adoption.
In late 18th century, Neoclassicism led to architects to increasingly incorporating ancient Greek and Roman designs in contemporary structures. Among the architects, John Soane was noted for using sans-serif letters on his drawings and architectural designs, which were eventually adopted by other designers, such as Thomas Banks and John Flaxman.
Sans-serif letters began to appear in printed media as early as 1805, in European Magazine. However, early-19th-century commercial sign writers and engravers had modified the sans-serif styles of neoclassical designers to include the uneven stroke weights found in serif Roman fonts, producing sans-serif letters.
In 1816, the Ordnance Survey began to use 'Egyptian' type, which was printed using copper plate engraving of monoline sans-serif capital letters, to name ancient Roman sites.
Incorporation by typefounders
In 1786 a rounded sans-serif font that was developed by Valentin Haüy first appeared in the book titled "Essai sur l'éducation des aveugles" (An Essay on the Education of the Blind). The purpose of this font was to be invisible and address accessibility. It was designed to emboss paper and allow the blind to read with their fingers. The design was eventually known as Haüy type.
In 1816, William Caslon IV produced the first sans-serif printing type in England for Latin characters under the title 'Two Lines English Egyptian', where 'Two Lines English' referred to the font's body size, which equals to about 28 points. Originally cut in 1812.
The first Grotesque typeface complete with lower-case letters was probably cast by the Schelter & Giesecke Foundry as early as 1825.
The term sans-serif was first employed in 1830 by Figgins foundry.
In 1832, Thorowgood of Fann Street Foundry introduced Grotesque, which include the first commercial Latin printing type to include lowercase sans-serif letters.