Jonny Pigg, United Kingdom

Twitter: @jonnydapigg

Impact – lovely striking bold headline font, easy to read.

Avant garde – bit common but popular with clients, smooth, no fuss lettering. Great for headings, sub-headings and body text (if there’s not too much).

Jr! hand – this turns up in a lot of my t-shirt designs.

Courier – great for sale-type banners, readable and available everywhere (handy for the Web).

R Bitten, Brazil

Twitter: @bittenworks

Frutiger – It’s temporal, balanced and natural.

Futura – elegance, simplicity, looks good almost everywhere.

Didot – elegance and personality.

Lobster/Marketscript – my favorite retro manuscript font.

Museo Slab – a recent discovery.

League Gothic – a better impact.

Courier – another elegant font.

Rockwell – good for headlines.

Gills Sans and Helvetica are always good options too.

Edgaras Benediktavicius, Denmark

Twitter: @edgarascom

Century Gothic – solid circular letters.

Trebuchet MS – high readability, web safe, nice.

DejaVu Serif – my favorite serif font.

Rockwell – my favorite slab font.

Convington – very nice modernized retro font.

Comic Sans – makes me laugh.

Keiron Lowe, United Kingdom

Twitter: @Keiron_Lowe

Lobster has been so overused it’s become the new comic sans! The most popular font used by designers is definitely Helvetica Neue.

Cameron Olivier, South Africa

Twitter: @cameronolivier

If it is free-for-web fonts, FontSquirrel is for the win but as such, my ‘favourite’ fonts are from a very limited stock.

Trebuchet Ms. mostly because it’s on the standard web compatible list, underused, has some great lines and a very tasty italic version.

Quicksand – love the light version – although the font in general is well produced and has some great lines.

Makes – for good heading text, albeit softer, with its subtle curves.

Museo Slab – a great slab-serif. All the Museo’s are great in their own right really, particularly the Slab.

Marketing Script – what a great little font – has a great hand-written feel without being ‘kiddie’. Really like using it as a constrained "easy" font.

Aller – another great font. The different weightings are handy, but the display variant lets loose a little and makes for some great headlines.

ChunkFive – a great, solid heavy font. Really like the heaviness and impact it makes in the page.

Stacey Lane, United States

Twitter: @stacigh

DIN, Gotham, Caecilia, FF Meta, Helvetica Neue.

With the exception of Caecilia, all of these are sans-serif fonts with loads of varying weights. Caecilia is also on this list because it is very geometric and I love the Slab. Also, all of these fonts have a relatively large x-height, which is my preference.

Sergiu Naslau, Romania

Twitter: @serjeniu

Franklin Gothic – this font screams for attention. It’s big, bold, and it plays well with other sans-serif fonts.

Helvetica – when it comes to readability, it’s Helvetica or Tahoma. It has its own personality (Inserat or Neue). When it comes to designing a logo, when it comes to the typography, I always play with Helvetica first.

Tahoma – this font is a team player. When it comes to integrating content into the layout and putting everything together, Tahoma looks like it was made to be there.

Brush Script Std – the handwriting look blows me away, in general. In online projects, they tell a story and it appeals to the ego too.

Georgia – this font works great when it comes to capitalizing everything. When you play with the kerning, the letters always look good. It fills the space between the letters, not add to it (too much space lettering in Helvetica may destroy the visual impact).