![]() ![]() If you are missing the screen suitcase, your font could look bitmapped on the screen. The “screen” font suitcase holds all the information to produce the font on the screen of your computer. These fonts were created by Adobe Systems and consist of two parts. There are three font types that are used most often: PostScript, TrueType and OpenType fonts. Once you have decided on a free font or a commercial font, there are a couple terms you need to know. ![]() They sell these fonts for profit and to help fund future font projects. Companies like House Industries and OkayType hire top notch font designers to crank out beautiful fonts such as Rat Fink and Latino. These fonts are produced by design companies who spend hours creating and modifying font collections that are precise and expertly created. To use for commercial projects, the author of the fonts may ask for a donation. Just make sure you read the disclaimer as some fonts are free only for personal use. Free fonts are created by designers who are passionate about fonts and want to add value to the community without charging a price for their work. You can find free fonts on sites like and plus a ton of other ones. Which do you choose? Here are some tips to consider when faced with this choice. When you find the perfect font that makes your design come together, you could face two choices. Serif, sans serif, script, handwritten, fixed width, and they all look great. Ray come from Satya Rajpurohit, the Ahmedabad-based type designer who co-founded the Indian Type Foundry.Fonts are awesome! There are so many type styles available you could spend hours pouring through font sites looking for the right fit. The fonts in the Ray family include both lining and oldstyle figures, as well as several alternates for letters like the ‘Q’, ‘R’, ‘S’, and ‘g’. These rounded elements from Ray Four are in turn re-squared in Ray Five, making that font look like a cross between Ray Two and Ray Four. Ray Four adds bridges between many of the gaps found between the grid units visible in Ray Three. ![]() Those squares are rounded off in Ray Three, making this style appear like a combination of the Ray One with the Ray Two font. These all run into each other, but still present a pixelated effect to the texts they set. The Ray Two fonts uses squares instead of dots. The descenders have two dots worth of space available below the baseline. ![]() The capital letters, lining figures, and lowercase ascenders are nine dots tall. Ray One’s letterforms make use of a series of dots overlayed on top of a background grid. They are each derived from a strict grid. The family includes five variants, each of which shares the same character width, inter-character spacing, and OpenType features. Its letterforms were inspired by the kind of typefaces used on digital displays. Ray is a light-hearted family of display fonts. Plenty of additional Open Type Features like ligatures, case sensitive forms, old-style figures, and symbols make Flink a valuable tool for the discerning typographer.Flink is the reimagination of a classic genre, designed to suit the needs of our time. There are more than 750 characters per style, including two stylistic sets that offer variations to the look and feel of Flink, making it even more versatile. Each weight consists of an Upright and Italic version. To further reduce the rigidity of a purely geometric composition, you can replace some letters with more humanist alternates, such as a, g, j, etc.This font family comes along in 8 weights from Thin to Black. This makes for a more contemporary look, setting it apart from the classics. Its x-height is considerably larger than in classic geometric sans-serif fonts its proportions are harmonized as opposed to strictly constructed. Inspired by those early giants as well as later epigones with a legacy of their own (such as 1970’s Avant Garde Gothic), Flink is the Identity Letters take on this genre, characterized by a clean and focused appearance.With neat shapes and the look of pure geometry, Flink adapts to a vast range of applications and topics, from the fine print in contract to website body copy to logo design to billboard-size slogans. It was a time when iconic faces such as Futura, Erbar, and Kabel appeared on the scene and turned the world of type upside-down. The joy of pure geometry, revisited.Geometric typefaces are a staple in every typographer’s toolbox since the 1920s. ![]()
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