Greatest fonts countdown: 99 - RM Regular

FontShop AG, the renowned type foundry, conducted a survey based on historical relevance, sales at (opens in new tab), and aesthetic quality. With a few additions from the experts at Creative Bloq and Computer Arts magazine, the best fonts ever were selected for the new book, 100 Best Typefaces Ever.

Here we are counting down the 100 greatest fonts, but you can read interviews with some of the typefaces' creators, a brief history of type, the anatomy of a font, and much, much more in the book – find out how to get your copy in print or digital formats at the foot of this post.

But without further ado, here's the 99th best typeface ever...

99. RM Regular (opens in new tab)

  • Mash Creative, 2011

For those looking for a simple, clean and legible sans, RM Regular by Essex-based design studio Mash Creative is a solid choice. The OpenType font includes a full character and glyph set, supporting 47 languages. RM Regular started out as part of a rethink for the Royal Mail identity commissioned by ICON magazine in 2010.

"As part of the identity I wanted to create a bespoke font that would remain timeless," says Mash Creative's Mark Bloom. "Designed in just two days from start to finish, the font is essentially a cross between a grotesque and a sans-serif humanist font."

RM Regular started out as part of a rethink for the Royal Mail identity

RM Regular started out as part of a rethink for the Royal Mail identity

The 100 Best Typefaces Ever

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This is an extract from The 100 Best Typefaces Ever (opens in new tab), the definitive guide to the greatest fonts ever created, in association with FontShop AG. Over 180 premium pages, the book dissects the world's greatest typefaces, bringing you some insightful background on each and interviews with their creators.

You can pick up the book at all good newsagents today or order it online (opens in new tab). Or you can download a digital edition directly to your iPad from the Computer Arts app on iTunes (opens in new tab).

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Rob is editorial, graphic design and publishing lead at Transport for London. He previously worked at Future Publishing over the course of several years, where he launched digital art magazine, ImagineFX; and edited graphic design magazine Computer Arts, as well as the Computer Arts Projects series, and was also editor of technology magazine, T3.