Teksi Teksi I saw you everywhere, I just had to have you. Teksi is a marker felt style font, I’ve seen various hand drawn styles of this typeface or something similar on taxis and vans all over the island of Penang.This hand drawn style is slowly being replaced with boring Arials and other Serif printed fonts, so I wanted to capture the charm of the original. A heavily weighted font which could work for comic styles and headlines. I hope you like it.
Design of this typography is based on straight strokes and standard curve strokes like those of test road tracks. Its design displays straight and balanced strokes showing strength and stability; and standardized curves show flexibility and smoothness, providing a relaxing reading. Therefore this font is ideal for corporate internal use, blogs, architecture webs, etc. A new good alternative for Arial and similar fonts. The most similar font to this one by comparing its style characteristics is Design Systems A-300.
In the neighbourhood of Bajos de Mena (Puente Alto, Chile) there are many stores and shops with signs and printed posters using typefaces such as Arial or Helvetica. These typefaces are used for all different purposes, from 8 pts to gigantics sizes, because local people would work with what they have within reach, also in terms of fonts. «What is Helvetica doing here?» that is the question that led me to design Mena Grotesk, a sans serif typeface for Bajos de Mena.
DeCoro is a decorative display font inspired by the Art Deco style that had a dominant influence between '20 and '30, by this way, DeCoro is a revival of those times between wars, a time of luxury cars and refined decorative arts, crazy dancer contestants of Charleston and Jazz bands, aerial acrobats, sound cinema, animated films and clandestine drinkers.
NorB Pen was inspired from Arial Round font, I use this font for my jazz lead-sheets. It's a handwritten text font emulating a round marker permanent pen. You can use this font with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! NorB Pen comes with 8 weights, each with their matching italics and in a Light, Normal, Bold and Heavy version.
Reading some book of typography inspired me to creating an elegant font. Calligraphy in specific. And I think the calligraphy have an advantage for the alternate characters, It has a tons to explore in just one letter. My exploration of this fonts as not easy as my imagination, it took several trial and errors to find the perfect balance for this style.
When Candy Script was officially released and in the hands of a few designers, I was in the middle of a three-week trip in North America. After returning to Buenos Aires, I found a few reactions to the font in my inbox. Alongside the congratulatory notes, flattering samples of the face in use, and the inevitable three or four “How do I use it?” emails, one interesting note asked me to consider an italic counterpart. I had experimented with a few different angles during the initial brainstorming of the concept but never really thought of Candy Script as an upright italic character set. A few trials confirmed to me that an italic Candy Script would be a bad idea. However, some of these trials showed conceptual promise of their own, so I decided to pursue them and see where they would go.
Madelican is a beautiful combination of modern and classical calligraphy, inspired by the handwriting of Italian women and ancient manuscripts. I think calligraphy has an advantage for the alternate characters, Madelican has tons of possibilities for just one letter. My exploration of this fonts was not as easy as in my imagination, it took several trial and errors for the perfect balance of the style.
This is the Cased version of my NorB Pen fonts are being inspired from Arial Round font, I use this font regularly in my jazz lead-sheets. It's a handwritten text font emulating marker permanent pen. You can use this font with any word processing program for text and display use, print and web projects, apps and comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! Pen cased font8 weights, each with their matching italics and in a Light, Normal, Bold and Heavy version.
In the late 1990s Gerard Unger won the assignment to design the signage system for the Holy Year celebrations to be held in Rome in 2000. The system he developed in cooperation with the design agency n|p|k used a classically inspired serif typeface, but the earlier proposals included a sans-serif, which became Vesta (2001). Vesta is a versatile family that can be used as a display face alongside Unger's serif faces Gulliver, Capitolium or Coranto; it can also be used on its own, even in longer texts. Vesta is narrower and therefore more economical than some commonly used sans serifs such as Arial and Helvetica; there is also a noticeable contrast between thick and thin parts, which makes it more lively. Vesta is to be extended with narrow versions, small capitals and old style numerals, along with some special versions for headlines.
Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.”
neue UXUI Icons is an unmatched iconographic system — with over 1100 carefully designed icons in multiple variants and stroke thicknesses it is the go-to toolkit for ambitious user experience/user interface designers and developers.Each member of the system comes with no less than 1155 icons covering areas such as office equipment, social media, controls, layout, music, navigation, weather, and more. Complementary to the elegantly outlined design neue UXUI Icons includes filled and crossed-out variants. Noteworthy are also the almost 200 arrows in any shape or form.neue UXUI Icons comes in seven weights ranging from Thin to Black. The individual styles are designed and nuanced in such a manner that allows for a harmonious co-existence between typefaces and icons. Furthermore the gradation of stroke thicknesses is a way to put differently sized icons into visual equilibrium.The design of neue UXUI Icons is purposefully simple and unpretentious in appearance. This modesty in expression gives room for a seamless blend between type and icon. We made sure that the family works both in traditional and modern design and prototyping environments. Regardless whether you’re using any Adobe product, Figma or Sketch simply copy/paste any shape from one environment into another. That simple.We’re happy to provide you with trial fonts and a variable version of the neue UXUI Icons family on request. Please say firstname.lastname@example.org. Looking forward hearing from you!
neue OS Icons is a font to personalise app icons on your iPhone. The family of six weights enables you to style your iPhone screen in multiple ways: as a collection of stylised icons in outlined and filled variants or as a purely typographic setting with one or two letter icons. And if you want to crank up to eleven superimpose a grid onto each icon. Caution though: Nerd alert!The neue OS Icons was designed in a similar fashion as neue UXUI Icons. Unobtrusive and elegant in appearance with legibility and distinctiveness in mind. neue OS Icons covers all 26 Apple categories from entertainment, social networking to navigation and many more. You have the choice between two and ten different icons for each category in order to make your iPhone truly unique and personal.To do so just download our Adobe Illustrator template which features all 260 stylised icons, 144 one letter icons and 100 two letter icons. Export as PNG and start personalising your iPhone. Not sure how? Watch our short YouTube video that walks you through all steps.A picture is worth a thousand words. To spare you the thousand words we’ve created a PDF that showcases all available neue OS Icons with their names and categories. This is especially handy if you want to use typographic symbols. Want to test neue OS Icons before you buy? Request fully functioning trial fonts here: email@example.com
Want to test the fonts before you buy? Request fully functioning trial fonts here: firstname.lastname@example.org Vektor is subject to the idea of »one destination, two routes«: satisfying one particular design demand with identical characteristics such as character set, number of styles, OpenType functionalities and metrics, but doing it so in two stylistically different ways. The later has a double life — the idea of the two variants is not only a stylistic exercise but is most and foremost an array of tools to address multifaceted typographic settings. These settings can be of aesthetic, hierarchal or optical nature. The domain of physical and digital interfaces profoundly submits to the troika of aesthetics, hierarchy and optics. Equipped with 1000+ characters per style and jam-packed with OpenType features neue Vektor was specifically designed with complex environments in mind. Environments such as wayfinding, signage, software user interfaces, digital instrument clusters, etc.neue Vektor comes in two flavours. neue Vektor A is an almost monolinear no-frills Neo-grotesque design that captivates with its graphical qualities: closed counters, horizontal stroke endings, symmetrical arcs and organically connected joints that establish the vibrant figure-ground relationship we expect from such a design. neue Vektor B is the unobtrusive sister of neue Vektor A. An utilitarian all-rounder with open counters, vertical stroke endings and mechanical joints — all for the sake of clarity and legibility. Flat horizontal curvature and vertical stress make it in particular a good fit for the Cartesian nature of a screen.The complete neue Vektor family comes in two variants seven weights each and 28 fonts in total to pick from. Each font file includes no less than 17 Stylistic Sets giving access to alternative letter shapes (I, a, j, l, t, y, &) and a multitude of arrows (circled, boxed, triangular in positive and negative).Visit www.neuefoundry.com for more
Resist Sans is a free-spirited neo-grotesque that embodies both the innate desire for revolt and a tendency towards uniformity. While Resist Sans preserves the neat, minimalist look which is associated with neo-grotesques, it also accentuates the tentativeness of each letter form. The name, too, hints at the rebellious character of the typeface. Resist Sans comes in 20 styles (10 uprights and matching obliques).Text vs DisplayResist Sans comes in two versions: Display and Text, which serve different purposes but remain interchangeable and even complementary in some cases. Resist Text is equipped with deep ink traps and optical compensators, which really come into play at smaller sizes. Certain glyphs (such as 'f', 't' and 'l') are more narrow, which makes larger bodies of text more uniform and solid. The Display version features more contrast, especially when rounder glyphs like 'p' and 'd' are involved. The aforementioned 't', 'f', and 'l' are wider, more idiosyncratic. It's perfect for headlines and logos. However, we also kept the narrower glyphs in Resist Display—they are accessible via Stylistic Alternates (ss01); wider letters can also be accessed in the Text version via the ss01 feature.Styles/WeightsEach of the two versions of Resist Sans comes in 5 weights (Thin to Bold) and is equipped with matching Obliques, which brings the total number of styles to 20. Two trial styles (Text Light and Display Medium Oblique) can be downloaded free of charge. Each style contains 880+ glyphs, awesome OpenType features, and more than 2500 kerning pairs. Language SupportResist Sans is truly multilingual. It supports most European and Latin-languages and features Extended Cyrillic, which gives access to such languages as Russian, Ukrainian, Bulgarian, Serbian, Macedonian and many more.Free StylesTwo versions of Resist Sans can be downloaded for free on MyFonts. Type Specimen Resist Sans PDF Type Specimen can be downloaded here: Resistance Sans PDF Type Specimen
Want to test the fonts before you buy? Request fully functioning trial fonts here: email@example.com Radial is not what it seems at first sight. Most certainly it is not another geometric grotesque, but an impeccable visual system that unites four of the most popular sans serif genres of recent decades, integrated in this superfamily under the suffixes A, B, C and D.neue Radial A follows the idea of New Functionalism that cultivates the model of the original London underground typeface in some details, while neue Radial B exemplifies the roots of a rational grotesque of the late twentieth century, a continuous success-story. neue Radial C is a contemporary representative of the geometric sans, mechanically constructed to optically appeal to the appearance of a true ‘compass and ruler’ typeface. Avant-Garde-esque elements ensure a smooth transition into neue Radial D that reflects the tradition of neo-grotesques. The capital letters in all four families, almost square in appearance, follow an ancient model first demonstrated in the Roman capitalis. With only little metamorphosis from one family to the next, the capitals constitute the backbone of neue Radial, although a common denominator also lies in the overall structure of several prominent lowercase characters such as a, b, d, h, i, n, u. At the same time, details in stroke endings, strokes that enclose counter forms and transitions from bows into stems are carefully adjusted in detail to match the respective genre. The system successfully merges the three traditional stroke endings, i.e. vertical, diagonal, horizontal, and joins organic with mechanical stem structures. As a result, each family member speaks its own dialect, while all four stylistically share the same language. In other words, the range of weights, number of glyphs and font metrics are identical in all four families that each offer their own style and expression.Let’s be clear, neue Radial is a highly consistent design machine. Each family comes in no less than 18 weights ranging from thin to black, decorated with regular and book weights, if necessary. No need to mention different sets of figures, but essential to point out squared and circled digits as well as several styles of arrows allowing for extensive use in identities, information design and orientation systems.
TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes.In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings.From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks.Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl.To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.
TT Commons 2.100 — a universal sans serif with a minimal contrast of strokes, a closed aperture and geometric shapes of characters. TT Commons 2.100 in numbers: 24 styles: 10 upright, 10 italics, 2 variable fonts and 2 outline styles1434 glyphs in each style (except outline styles)Support for more than 260+ languages: extended Latin, extended Cyrillic, Vietnamese, Bulgarian localizations and many, many other languages29 OpenType features in each style (except outline styles): small capitals, stylistic alternates, ligatures, old- style figures and other useful featuresAmazing Manual TrueType Hinting Useful links: PDF Specimen | Trial version | Graphic presentation | Customization optionsAbout TT Commons 2.100: TT Commons is a universal sans serif with a minimal contrast of strokes, a closed aperture and geometric shapes of characters. The design of the typeface was developed for the widest possible range of tasks with which any quality corporate font is required to cope. The history of TT Commons originates from the new TypeType logo, which appeared in late 2016 as part of the rebranding project. Ideas embedded in the logo formed the basis of two fully developed faces (regular and medium), which in early 2017 became the official corporate typeface of the TypeType Foundry. Initially, we did not plan to release TT Commons for sale, but given the number of incoming requests, we changed our decision. At the same time, we have significantly improved the typeface: we increased the number of faces to 18, added small capitals for the Latin and Cyrillic alphabets, expanded the character case to 771 glyphs, introduced 18 OpenType features, and included experimental hinting performed at our studio by our team. Low contrast strokes and averaged drawing of letters makes TT Commons excellent for large arrays of text. On the other hand, an individually developed design of each glyph makes it possible to use it successfully as a display font. The typeface intentionally does not have distinctive decorative details. On the contrary, it wins hearts with his laconism, simplicity and sharpness of forms, which set the seasoned corporate style for years to come. The name TT Commons comes from the word ‘common’ (widely accepted, typical, frequent)—this typeface can be used for any everyday tasks related to typography. And small capitals, stylistic alternates, ligatures, arrows, different types of figures and other features (ordn, frac, case, c2sc, smcp, sinf, sups, numr, dnom, tnum, onum, lnum, pnum, liga, dlig, calt, salt, ss01) add significant functionality. If you are in doubt about which typeface to choose, pick TT Commons, it will definitely work. TT Commons 2.100 OpenType features list: frac, ordn, case, c2sc, smcp, ccmp, locl, sinf, sups, numr, dnom, tnum, onum, lnum, plnum, dlig, liga, calt, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08TT Commons 2.100 language support: Abazin, Acehnese, Adyghe, Afar, Afrikaans, Agul, Albanian, Aleut (cyr), Aleut (lat), Alsatian, Altai, Alyutor, Aragonese, Archi, Arumanian, Asu, Avar, Aymara, Azerbaijan, Azerbaijani, Banjar, Bashkir, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Buryat, Catalan, Cebuano, Chamorro, Chechen (cyr), Chichewa, Chiga, Chukchi, Chuvash, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dargwa, Dolgan, Dungan, Dutch, Embu, Enets, English, Erzya, Eskimo, Esperanto, Estonian, Even, Evenki, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (cyr), Gagauz (lat), Galician, Ganda, German, Gikuyu, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Ingush, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Judaeo- Spanish, Kabardian, Kabardino-Cherkess, Kabuverdianu, Kalenjin, Kalmyk, Kamba, Karachay-Balkar (cyr), Karachay-Balkar (lat), Karaim (cyr), Karaim (lat), Karakalpak (cyr), Karakalpak (lat), Kashubian, Kazakh (cyr), Kazakh (lat), Ket, Khakass, Khanty, Khasi, Khvarshi, Kikuyu, Kinyarwanda, Kirghiz, Kirundi, Komi-Permyak, Komi-Yazva, Komi-Zyrian, Kongo, Koryak, Kryashen Tatar, Kumyk, Kurdish (lat), Ladin, Lak, Latvian, Laz, Leonese, Lezgian, Lithuanian, Luba-Kasai, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Mari-high, Mauritian Creole, Meru, Minangkabau, Moldavian (cyr), Moldavian (lat), Mongolian, Montenegrin (cyr), Montenegrin (lat), Mordvin- moksha, Morisyen, Nahuatl, Nanai, Nauruan, Ndebele, Negidal’skij, Nganasan, Nias, Nivkh, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romani (cyr), Romanian, Romansh, Rombo, Rundi, Russian, Russian Old (XIX), Rusyn, Rutul, Rwa, Saami Kildin, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Shor, Shughni, Siberian Tat