What are the best fonts for PowerPoint presentations? That’s a question we want to answer in this post.
We list a dozen fonts suitable for presentations. We included different font styles to account for the different presentation styles you can create with Microsoft PowerPoint.
Some fonts are included in the application itself. Others are from marketplaces like Creative Market and Envato Elements.
Envato Elements is a subscription service that gives you access to an unlimited number of downloads of over 80,000 design elements for $16.50/month.
You can get started with a 7-day free trial. We wrote a review on Envato Elements if you’d like to learn more about it.
Visby CF is a versatile sans-serif font fit for any PowerPoint presentation.
It’s easy on the eyes when used in lowercase format or lighter font styles.
When you use all uppercase or bold letters, your text becomes more audacious, lending itself to a more noticeable appeal.
This versatility makes this a suitable primary font for any presentation. Use it for headings and paragraph text alike.
The font comes packaged in an OTF file.
02. Tahoma
Tahoma is a sans-serif font. It was designed by Matthew Carter for Microsoft in 1994, after which it was included in the original edition of Windows 95.
It’s been a staple of Microsoft applications like PowerPoint ever since.
The font contains two Windows TrueType fonts in regular and bold weights.
It’s a versatile font perfect for headings and paragraph text as well as personal and professional projects.
Bergen Sans is a big and bold sans-serif font. It’s one of the best fonts for PowerPoint presentations, especially for larger headings meant to grab your viewer’s attention.
This particular font comes packaged as a font family that consists of 6 individual fonts.
Because of this, you can easily use one font for headings and a lighter font from this family for text.
Fonseca is an art deco sans-serif font with a modern twist.
This makes it a suitable choice for headings and subheadings, especially for artistic presentations.
The font is packaged in OTF format with several font styles included. It has 345 glyphs.
09. RNS Camelia
RNS Camelia is a slab serif font. That makes it an incredibly suitable choice for headings right off the bat.
However, it’s also a great text font when used in a lighter font weight.
The font comes in OTF format with 14 styles included.
10. Verdana
Verdana is a classic Microsoft Windows font designed by Mattew Carter. This one, in particular, was one of the first fonts designed with on-screen displays in mind.
It’s a sans-serif font, but a rather plain one.
This makes it most suitable as a text font for professional, and especially corporate, presentations.
RNS Sanz is one of the best sans-serif fonts for PowerPoint presentations.
It’s multipurpose as you can use it as both a heading and text font for PowerPoint presentations.
The font comes in multiple styles and is packaged in OTF and TTF file formats.
12. Corbel
Corbel is a rounded sans-serif font that first appeared in Microsoft applications with the release of Windows Vista.
It’s a simple font, but it’s versatile enough to be used as a heading font in professional presentations and a text font in all others.
How to Use Custom Fonts for PowerPoint Presentations
Microsoft PowerPoint Online does not allow you to use custom fonts. If you only have access to this version of PowerPoint, you’ll need to stick to the default fonts it comes with.
Based on our list, this means sticking to fonts that say “included with PowerPoint” in the Price section of each list item.
For the desktop version of PowerPoint, follow these steps to upload a custom font into the application:
Download a copy of the font you want to add to PowerPoint.
Custom fonts need to be in TTF (TrueType Font) or OTF (OpenType Font) file formats in order to use them in PowerPoint. If your font came in a ZIP folder, unzip the folder to extract the correct file format.
Double click this file. This opens a window that contains a preview of the font you downloaded.
Click the Install button in the window. It’s located toward the top.
If your font came with additional styles (bold, italic, extra bold, etc.), you may see additional TTF and OTF files, one for each additional style. Go through the same process of double clicking and installing each one if you want to use them in PowerPoint.
Restart your computer (or PowerPoint, at the very least).
That’s it! The font should now be available for use in PowerPoint.
The process is similar on a Mac.
After Step 2, open Font Book on your Mac. Then, drag and drop any files you want to use in PowerPoint from its original folder over to Font Book.
Embedding Fonts in PowerPoint Presentations
If you want to ensure your PowerPoint presentation features all of the custom fonts you used (instead of the app’s default ones), you need to embed them into your final presentation file.
Otherwise, custom fonts will only appear when you show the presentation on a computer that has the font installed.
Here are the steps for embedding fonts on a PC:
Click File, then Options.
Open the Save tab.
Look for the “Preserve fidelity when sharing this document” setting. It’s located at the bottom.
Make sure the “Embed fonts in the file” option is selected, then click OK.
Save/export your presentation as usual.
Follow these steps to embed fonts on a Mac:
Select Preferences.
Look for the Output and Sharing section, then click Save.
Look for the “Font Embedding” setting.
Make sure the “Embed fonts in the file” option is selected.
How to Choose the Best Fonts for PowerPoint Presentations
PowerPoint presentations are akin to signs, posters and even billboards you see as you drive along the highway.
They’re filled with information but are often paired with visuals designed to grab your attention and complement the words they’re attributed to.
However, a good sign or billboard can grab your attention with either. Each slide in your presentation should do the same.
Yes, the visuals in your presentation do a lot, but don’t discredit the power typography can play when it comes to conveying a message or providing facts.
So, instead of choosing any old font to add to your PowerPoint, choose the best fonts for your presentation instead.
It’s best to choose no more than two fonts that complement each other: one for headings and a second for text.
Your heading font should captivate your viewers at a moment’s glance. It should also look good in larger font sizes.
Visby CF, Tahoma, Caridora, Frunch, Addington, and RNS Camelia are all great options for headings.
They each have different styles, though, so make sure you choose one that complements your presentation’s content as well.
For example, Addington is a bit of a fancier, more elegant font. It likely wouldn’t be suitable for a presentation on skateboarding.
It’s best to choose a simpler font for text.
This is because text in PowerPoint presentations is used to convey more information (and words) than headings.
Stick with sans-serif fonts for text since they’re easier to read.
Tahoma, Palatino Lintoype, Bergen Sans, Fonseca, and RNS Sanz are good choices.
Be sure to grab an Envato Elements subscription if you want more choices. They also have thousands of PowerPoint templates, all of which are free with your subscription.
You can get started with a 7-day free trial.
Related Posts
Reader Interactions
Droppin' design bombs every week! 5,751 subscriber so far!
That again was no use: he but got another smile and a friendly look of the sort he no longer wanted. I said I thought I could gallop if Harry could, and in a few minutes we were up with the ambulance. It had stopped. There were several men about it, including Sergeant Jim and Kendall, which two had come from Quinn, and having just been in the ambulance, at Ferry's side, were now remounting, both of them openly in tears. "Hello, Kendall." We have this great advantage in dealing with Plato—that his philosophical writings have come down to us entire, while the thinkers who preceded him are known only through fragments and second-hand reports. Nor is the difference merely accidental. Plato was the creator of speculative literature, properly so called: he was the first and also the greatest artist that ever clothed abstract thought in language of appropriate majesty and splendour; and it is probably to their beauty of form that we owe the preservation of his writings. Rather unfortunately, however, along with the genuine works of the master, a certain number of pieces have been handed down to us under his name, of which some are almost universally admitted to be spurious, while the authenticity of others is a question on which the best scholars are still divided. In the absence of any very cogent external evidence, an immense amount of industry and learning has been expended on this subject, and the arguments employed on both sides sometimes make us doubt whether the reasoning powers of philologists are better developed than, according to Plato, were those of mathematicians in his time. The176 two extreme positions are occupied by Grote, who accepts the whole Alexandrian canon, and Krohn, who admits nothing but the Republic;115 while much more serious critics, such as Schaarschmidt, reject along with a mass of worthless compositions several Dialogues almost equal in interest and importance to those whose authenticity has never been doubted. The great historian of Greece seems to have been rather undiscriminating both in his scepticism and in his belief; and the exclusive importance which he attributed to contemporary testimony, or to what passed for such with him, may have unduly biassed his judgment in both directions. As it happens, the authority of the canon is much weaker than Grote imagined; but even granting his extreme contention, our view of Plato’s philosophy would not be seriously affected by it, for the pieces which are rejected by all other critics have no speculative importance whatever. The case would be far different were we to agree with those who impugn the genuineness of the Parmenides, the Sophist, the Statesman, the Philêbus, and the Laws; for these compositions mark a new departure in Platonism amounting to a complete transformation of its fundamental principles, which indeed is one of the reasons why their authenticity has been denied. Apart, however, from the numerous evidences of Platonic authorship furnished by the Dialogues themselves, as well as by the indirect references to them in Aristotle’s writings, it seems utterly incredible that a thinker scarcely, if at all, inferior to the master himself—as the supposed imitator must assuredly have been—should have consented to let his reasonings pass current under a false name, and that, too, the name of one whose teaching he in some respects controverted; while there is a further difficulty in assuming that his existence could pass unnoticed at a period marked by intense literary and philosophical activity. Readers who177 wish for fuller information on the subject will find in Zeller’s pages a careful and lucid digest of the whole controversy leading to a moderately conservative conclusion. Others will doubtless be content to accept Prof. Jowett’s verdict, that ‘on the whole not a sixteenth part of the writings which pass under the name of Plato, if we exclude the works rejected by the ancients themselves, can be fairly doubted by those who are willing to allow that a considerable change and growth may have taken place in his philosophy.’116 To which we may add that the Platonic dialogues, whether the work of one or more hands, and however widely differing among themselves, together represent a single phase of thought, and are appropriately studied as a connected series. Before entering on our task, one more difficulty remains to be noticed. Plato, although the greatest master of prose composition that ever lived, and for his time a remarkably voluminous author, cherished a strong dislike for books, and even affected to regret that the art of writing had ever been invented. A man, he said, might amuse himself by putting down his ideas on paper, and might even find written178 memoranda useful for private reference, but the only instruction worth speaking of was conveyed by oral communication, which made it possible for objections unforeseen by the teacher to be freely urged and answered.117 Such had been the method of Socrates, and such was doubtless the practice of Plato himself whenever it was possible for him to set forth his philosophy by word of mouth. It has been supposed, for this reason, that the great writer did not take his own books in earnest, and wished them to be regarded as no more than the elegant recreations of a leisure hour, while his deeper and more serious thoughts were reserved for lectures and conversations, of which, beyond a few allusions in Aristotle, every record has perished. That such, however, was not the case, may be easily shown. In the first place it is evident, from the extreme pains taken by Plato to throw his philosophical expositions into conversational form, that he did not despair of providing a literary substitute for spoken dialogue. Secondly, it is a strong confirmation of this theory that Aristotle, a personal friend and pupil of Plato during many years, should so frequently refer to the Dialogues as authoritative evidences of his master’s opinions on the most important topics. And, lastly, if it can be shown that the documents in question do actually embody a comprehensive and connected view of life and of the world, we shall feel satisfied that the oral teaching of Plato, had it been preserved, would not modify in any material degree the impression conveyed by his written compositions. breakfast in the kitchen by candle-light, and then drove the five The bargaining was interminable, something in this manner:— Then follows a long discussion in Hindi with the bystanders, who always escort a foreigner in a mob, ending in the question— There was a bright I. D. blanket spread on the ground a little way back from the fire, and she threw herself down upon it. All that was picturesque in his memories of history flashed back to Cairness, as he took his place beside Landor on the log and looked at her. Boadicea might have sat so in the depths of the Icenean forests, in the light of the torches of the Druids. So the Babylonian queen might have rested in the midst of her victorious armies, or she of Palmyra, after the lion hunt in the deserts of Syria. Her eyes, red lighted beneath the shadowing lashes, met his. Then she glanced away into the blackness of the pine forest, and calling her dog to lie down beside her, stroked its silky red head. The retreat was made, and the men found themselves again in the morning on the bleak, black heath of Drummossie, hungry and worn out, yet in expectation of a battle. There was yet time to do the only wise thing—retreat into the mountains, and depend upon a guerilla warfare, in which they would have the decided advantage. Lord George Murray now earnestly proposed this, but in vain. Sir Thomas Sheridan and other officers from France grew outrageous at that proposal, contending that they could easily beat the English, as they had done at Prestonpans and Falkirk—forgetting that the Highlanders then were full of vigour and spirit. Unfortunately, Charles listened to this foolish reasoning, and the fatal die was cast. "They said they were going for our breakfast," said Harry. "And I hope it's true, for I'm hungrier'n a rip-saw. But I could put off breakfast for awhile, if they'd only bring us our guns. I hope they'll be nice Springfield rifles that'll kill a man at a mile." "Dod durn it," blubbered Pete, "I ain't cryin' bekase Pm skeered. I'm cryin' bekase I'm afeared you'll lose me. I know durned well you'll lose me yit, with all this foolin' around." He came nearly every night. If she was not at the gate he would whistle a few bars of "Rio Bay," and she would steal out as soon as she could do so without rousing suspicion. Boarzell became theirs, their accomplice in some subtle, beautiful way. There was a little hollow on the western slope where they would crouch together and sniff the apricot scent of the gorse, which was ever afterwards to be the remembrancer of their love, and watch the farmhouse lights at Castweasel gleam and gutter beside Ramstile woods. "Yes, De Boteler," continued the lady, "I will write to him, and try to soothe his humour. You think it a humiliation—I would humble myself to the meanest serf that tills your land, could I learn the fate of my child. The abbot may have power to draw from this monk what he would conceal from us; I will at least make the experiment." The lady then, though much against De Boteler's wish, penned an epistle to the abbot, in which concession and apologies were made, and a strong invitation conveyed, that he would honour Sudley castle by his presence. The parchment was then folded, and dispatched to the abbot. "A very pretty method, truly! You know not the miners and forgers of Dean Forest!—why I would stake a noble to a silver-penny, that if you had discovered he was hidden there, and legally demanded him, he would be popped down in a bucket, to the bottom of some mine, where, even the art of Master Calverley could not have dragged him to the light of day until the Forest was clear of the pack:—but, however, to speak to the point," perceiving that the steward's patience was well nigh exhausted—"I saw Stephen Holgrave yesterday, in the Forest." HoME欧美一级 片a高清
ENTER NUMBET 0016www.gncfcn.com.cn www.linkfuns.com.cn www.hdcsht.com.cn kmchain.com.cn www.mlhy.net.cn npeezi.com.cn www.ohpkus.com.cn www.ubcyub.com.cn qtchain.com.cn www.qcchain.com.cn
Leave a Reply