58 search results (0.02 seconds)
  1. PF DIN Serif by Parachute, $36.00
    DIN Serif: Specimen Manual PDF The DIN Type System: A Comparison Table This is the first ever release of a true serif companion for the popular DIN typeface. DIN Serif originated in a custom project for a watchmaking journal which required a modern serif to work in unison and match the inherent simplicity of DIN. As a result, a solid, confident and well-balanced typeface was developed which is simple and neutral enough when set at small sizes, but sturdy and powerful when set at heavier weights and bigger sizes. It utilizes the skeleton of the original DIN and retains its basic proportions such as x-height, caps height and descenders, whereas ascenders were slightly increased. DIN Serif makes no attempt to impress with ephemeral nifty details on individual letters, but instead it concentrates on a few modern, functional and everlasting novelties which express an overall distinct quality on the page and set it apart from most classic romans. This is a low contrast typeface with vertical axis and squarish form which brings out a balance between simplicity and legibility. Its narrow proportions offer economy of space which is critical for newspaper body text and headlines. At small sizes the text has an even texture, it is comfortable and highly readable. The serifs are narrow at heavy weights and when tight typesetting is applied at large sizes, the heavier weights become ideal for headlines. DIN Serif was inspired by late 19th century Egyptian and earlier transitional roman faces. Bracketed serifs were placed on the upper part of the letterforms (this is where we mostly concentrate our attention when we read) whereas small clean square serifs were placed on and under the baseline to simplify the letterforms. In order to reduce visual tension at the joins and make reading smooth and comfortable, a slight hint of bracketed serif was added at the joins in the form of a subtle angular tapered serif, which softens the harsh angularity. These angular tapered serifs tend to disappear at smaller sizes (or smooth out the joins) but stand out at bigger sizes exuding a strong, modern and energetic personality. What started out as a custom 2 weight family, it has developed into a full scale superfamily with 10 styles from Regular to ExtraBlack along with their italics. Additional features were added such as small caps, alternate letters and numbers as well as numerous symbols for branding, signage and publishing. All weights were meticulously hinted for excellent display performance on the web. Finally, DIN Serif supports more that 100 languages such as those based on the Latin, Greek and Cyrillic alphabet.
  2. "Butterflies" is a whimsically crafted font that immediately transports you into a world where creativity knows no bounds and the air is thick with the wistful dance of imagination. Designed with a d...
  3. Daville Condensed Slanted is a sophisticated font that marries the elegance of classic typography with a contemporary twist, making it a standout choice for a variety of design projects. At its core,...
  4. The font "BONES" embodies a unique fusion of gothic allure and minimalist design, encapsulating a style that is both stark and evocatively expressive. Its character set is designed to evoke a skeleta...
  5. The Overspray font, developed by Michael Tension, is a vivid embodiment of artistic freedom and dynamic expression. It stands out for its ability to capture the spontaneous, rebellious spirit of stre...
  6. The font SunriseSunset, designed by Marcia Loeb, encapsulates a visual narrative that effortlessly evokes the delicate transition periods of dawn and dusk. This typeface, through its design, seeks to...
  7. The Angel Tears font, designed by the talented Billy Argel, is a captivating and emotionally evocative typeface that stands out for its unique blend of elegance and raw expressiveness. At its core, t...
  8. KR Beautiful Flowers 3, crafted by the talented Kat Rakos, is an enchanting font that captures the essence of a meticulously tended floral garden. At its core, this font represents a harmonious blend...
  9. Marsh Gas, crafted by the talented Levi Halmos, is a font that seems to rise from the depths of fantasy and enchantment, encapsulating the essence of mystery and peculiar charm. At first glance, Mars...
  10. Bubbleboy is a charming, lively font that seems to burst with cheerful energy and playful charm, evoking the whimsy of childhood bubble letters yet refined enough for both personal and professional p...
  11. The Half SunBurst-w4-02 font embodies a blend of creativity and radiant energy, reminiscent of the glowing aura of a setting or rising sun. This font stands out for its unique design, which combines ...
  12. The font named "WHEN THE GOES SUN . SCENE" evokes a profound sense of storytelling and emotional depth, designed to encapsulate the breathtaking moments of a sunset scene. This font is not just a col...
  13. The Nihilschiz Handwriting font, crafted by the designer known as nihilschiz, stands as a distinct and captivating typeface that embodies the essence of personal touch and artistic flair. This font t...
  14. The Porcelain font, created by Misprinted Type, is an enchanting typeface that transports its audience to an era where each letterform carries its weight in stories and emotions. Misprinted Type, kno...
  15. Evanescent, as suggested by its name, embodies a characteristic often associated with things that are fleeting, ethereal, or gently fading into the invisible. This font manages to encapsulate the ess...
  16. As of my last update in April 2023, CrawfishPopsicle is not a widely recognized or specific font within mainstream font libraries or the typographic community, which suggests it might be a custom or ...
  17. Oh, gather round, typography aficionados, design enthusiasts, and lovers of all things that speak in silent voices but with the presence of a medieval knight at a Renaissance fair! Today, we dive int...
  18. 112 Hours by Device, $9.00
    Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.
Looking for more fonts? Check out our New, Sans, Script, Handwriting fonts or Categories
abstract fontscontact usprivacy policyweb font generator
Processing