Ghid
sans-serif font family
Variable Font flexibility & True italics
Font Variants
GHID Hairline
GHID Thin
GHID Light
GHID Regular
GHID Medium
GHID Semibold
GHID Bold
GHID Extrabold
GHID Ultrabold
GHID Black
GHID Hairline Italic
GHID Thin Italic
GHID Light Italic
GHID Regular Italic
GHID Medium Italic
GHID Semibold Italic
GHID Bold Italic
GHID Extrabold Italic
GHID Ultrabold Italic
GHID Black Italic
Ghid is a guide in Romanian language.
Ghid is a sans-serif typeface designed for wayfinding systems, signage, and information displays. The goal was to create a face that remains legible at a distance, with a clear structure and emphasized distinguishing features. Over time, the project expanded to include several widths and a true italic.
Ghid is also a guide to type design itself. Its development became a journey through the complexities of Latin, Cyrillic, and Greek scripts, as well as the forms and histories of characters — even those that are stylistically distant.
The family comprises 711 glyphs in each of 12 styles, supporting 162 languages.
font variants
Thin
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
Thin
Italic
Italic
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
Light
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
Light
Italic
Italic
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
Regular
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
Regular
Italic
Italic
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
Medium
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
Medium
Italic
Italic
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
SemiBold
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
SemiBold
Italic
Italic
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
Bold
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
Bold
Italic
Italic
Aa
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
abcdefghijklmnopqrstuvwxyz
1234567890 !@£$%&*()+-–—“”‘’?/
font scripts
Latin
Glib jocks quiz nymph to vex dwarf.
CYRILLIC
Экс-граф? Плюш изъят. Бьём чуждый цен хвощ!
GREEK
Ξεσκεπάζω την ψυχοφθόρα σας βδελυγμία.
Sample
This is the Ghid title & heading • 60 px
This is the Ghid title & heading • 54 px
This is the Ghid title & heading • 48 px
This is the Ghid title & heading • 36 px
This is the Ghid title & heading • 54 px
This is the Ghid title & heading • 48 px
This is the Ghid title & heading • 36 px
This is the Ghid title & heading • 36 px
This is the Ghid title & heading • 32 px
This is the Ghid title & heading • 28 px
This is the Ghid title & heading • 26 px
This is the Ghid title & heading • 32 px
This is the Ghid title & heading • 28 px
This is the Ghid title & heading • 26 px
Ghid title • 36 px
Ghid title • 32 px
Ghid title • 28 px
Ghid title • 26 px
Ghid title • 32 px
Ghid title • 28 px
Ghid title • 26 px
22px
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
20px
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
18px
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
16px
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
14px
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
12px
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
10px
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
Traditionally, text is composed to create a readable, coherent, and visually satisfying typeface that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency. Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces and their fonts or styles.
panagrams
The quick brown fox jumps over the lazy dog. Muzicologă în bej, vând whisky și tequila, preț fix. Polyfon zwitschernd aßen Mäxchens Vögel Rüben, Joghurt und Quark. Nechť již hříšné saxofony ďáblů rozezvučí síň úděsnými tóny waltzu, tanga a quickstepu. Høj bly gom vandt fræk sexquiz på wc. Ξεσκεπάζω την ψυχοφθόρα σας βδελυγμία. Törkylempijävongahdus. Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq. Pijamalı hasta yağız şoföre çabucak güvendi. Jámbor célú, öv ügyű ex-qwan ki dó-s főz, puhít. Pri Jakcu bom vzel šest čudežnih fig. Шеф взъярён так щипцы с эхом гудбай Жюль.
162 languages
A
B
C
B
C
Abaza
Adyghe
Afar
Afrikaans
Aghul
Albanian
Aranese
Araona
Aromanian
Avar
Aymara
Ayoreo
Azeri (Latin)
Balkar
Basque
Belarusian
Bemba
Bislama
Bosnian
Breton
Bulgarian
Buryat
Catalan
Cavineña
Chamorro
Chechen
Chichewa
Adyghe
Afar
Afrikaans
Aghul
Albanian
Aranese
Araona
Aromanian
Avar
Aymara
Ayoreo
Azeri (Latin)
Balkar
Basque
Belarusian
Bemba
Bislama
Bosnian
Breton
Bulgarian
Buryat
Catalan
Cavineña
Chamorro
Chechen
Chichewa
D
E
F
G
Chokwe
Chuukese
Chuvash
Cofán
Comorian
Crimean Tatar
Croatian
Czech
Dargin
Dungan
Dutch
English
Esperanto
Estonian
Faroese
Fijian
Finnish
French
Frisian
Friulian
Gagauz
Galician
Ganda
German
Gikuyu
Greek (modern)
Greenlandic
Chuukese
Chuvash
Cofán
Comorian
Crimean Tatar
Croatian
Czech
Dargin
Dungan
Dutch
English
Esperanto
Estonian
Faroese
Fijian
Finnish
French
Frisian
Friulian
Gagauz
Galician
Ganda
German
Gikuyu
Greek (modern)
Greenlandic
H
I
J
K
L
Gwich’in
Haitian
Hawaiian
Hungarian
Icelandic
Ido
Indonesian
Ingush
Interlingua
Irish Gaelic
Italian
Javanese
Kabardian
Kalmyk
Kashubian
Kazakh
Kinyarwanda
Kirghyz
Kiribati
Kirundi
Kituba
Komi
Kongo
Koryak
Kumyk
Kurdish
Ladin
Haitian
Hawaiian
Hungarian
Icelandic
Ido
Indonesian
Ingush
Interlingua
Irish Gaelic
Italian
Javanese
Kabardian
Kalmyk
Kashubian
Kazakh
Kinyarwanda
Kirghyz
Kiribati
Kirundi
Kituba
Komi
Kongo
Koryak
Kumyk
Kurdish
Ladin
M
N
O
Lak
Latvian
Lezgian
Lithuanian
Luba-Kasai
Luxemburgish
Macedonian
Malay
Maltese
Manci
Manx
Māori
Mari
Marquesan
Montenegrin
Mordvin (Erzya)
Mordvin (Moksha)
Náhuatl
Nanai
Nauruan
Ndebele (Northern)
Ndebele (Southern)
Nogai
Norn
Norwegian
Nyanja
Occitan
Latvian
Lezgian
Lithuanian
Luba-Kasai
Luxemburgish
Macedonian
Malay
Maltese
Manci
Manx
Māori
Mari
Marquesan
Montenegrin
Mordvin (Erzya)
Mordvin (Moksha)
Náhuatl
Nanai
Nauruan
Ndebele (Northern)
Ndebele (Southern)
Nogai
Norn
Norwegian
Nyanja
Occitan
P
Q
R
S
Oromo
Otomi
Palauan
Polish
Portuguese
Quechua
Rarotongan
Rhaeto-Romanic
Romaji
Romani
Romanian
Russian
Rusyn
Sámi (Inari)
Sámi (Lule)
Sámi (Northern)
Sámi (Southern)
Samoan
Sango
Sardinian
Scottish Gaelic
Serbian
Seychelles Creole
Shona
Silesian
Slovak
Slovene
Otomi
Palauan
Polish
Portuguese
Quechua
Rarotongan
Rhaeto-Romanic
Romaji
Romani
Romanian
Russian
Rusyn
Sámi (Inari)
Sámi (Lule)
Sámi (Northern)
Sámi (Southern)
Samoan
Sango
Sardinian
Scottish Gaelic
Serbian
Seychelles Creole
Shona
Silesian
Slovak
Slovene
T
U
V
W
X
Y
Z
Somali (Latin)
Sorbian
Sotho
Spanish
Swahili
Swati
Swedish
Tagalog (Filipino)
Tahitian
Tatar
Tetum
Tok Pisin
Tokelauan
Tongan
Tsonga
Tswana
Turkish
Turkmen
Tuvalu
Tuvan
Ukrainian
Veps
Welsh
Wolof
Xhosa
Yupik (Latin)
Zulu
Sorbian
Sotho
Spanish
Swahili
Swati
Swedish
Tagalog (Filipino)
Tahitian
Tatar
Tetum
Tok Pisin
Tokelauan
Tongan
Tsonga
Tswana
Turkish
Turkmen
Tuvalu
Tuvan
Ukrainian
Veps
Welsh
Wolof
Xhosa
Yupik (Latin)
Zulu