Tag: Screen
Journal Font
Journal type family is a low-contrast text face of the Ionic-Legibility group. It was designed at the Polygraphmash Type Design Bureau in 3 styles in 1951–53 by Lev Malanov and Elena Tsaregorodtseva.The fonts were based on Cyrillic version of Excelsior
Quarca Font
Quarca’s masculine power runs strong across the page with bold self-assurance and a raw energy that courses through its thick veins. Don’t think the continuous, smooth geometry of this semi-modular face is captively chained to the grid, though. Quarca has
Hackman Font
A geometric sans serif with contemporary lines. Distinctive curves are combined with classical letterforms to produce a clean, linear typeface best suited to identity, mobile and web applications. Details include 9 weights with italics, 500 characters, 5 variations of numerals,
Stream Font
Script Stream was developed for the series of handwriting fonts based on the writing samples of real people. The font delivers natural sincere touch and can magically convert any annoying advertising text into intimate advice of your good friend. The
Richler Font
An open, evenly spaced book face designed for quality headlines and enhanced readability in text. Published by ShinntypeDownload Richler
Hansom Slab FY Font
As its cousin Hansom FY, this font has friendly shapes and rounded terminals. Slabs reinforce its masculine and technique appearance. With 3 weights and their accompanying italics, this modern and functional slab font family is well-suited for all kind of
Corbert Font
A geometric sans serif typeface influenced by Bauhaus and the early modernist era. Precise circles are optically adjusted to create a clear, natural typeface with great legibility. Details include 540 characters with alternative lowercase a, e and g, 5 variations
Woolworth Font
A modern sans serif font inspired by the grotesque designs of the late 19th century. Each letter has been developed with careful attention towards balance and purity of form, creating a clean functional and optically correct typeface. These handcrafted details create a
Televisio Font
Televisio is a headline font with a technical retro feel. Published by Suomi Type FoundryDownload Televisio
Norpeth Font
A modern humanist sans serif typeface. The proportions of each character have a strong lateral dynamic that makes it ideal for on screen uses. Also consistent stroke contrast is used throughout each weight to maintain an optical balance. Details include
Data 70 Font
This high-tech typeface simulates output generated by computers. Data 70 is equally effective set in capitals or lowercase where the strong geometric shapes create a futuristic sense of the space age. Designed in the Type Studio by British artist Bob
Cabrito Font
After my son was born, I found myself reading him a lot of books. A LOT of books. Some were good, some were great, but I found myself wanting to develop something using my skills and interests to make something
Baufra Font
Baufra is a humanist sans-serif typeface. It is based on the sans-serif typefaces of the early 20th century. A characteristic feature of Baufra is its geometric design combined with an earthy naturalism. Baufra family includes 6 weights, 435 characters, manually
Libertad Font
Design can do without images, but not without typefaces. Libertad is a sans-serif typeface that mixes humanist and grotesk models – It’s most interesting feature is the combination of balanced regulars with dynamic italics, which makes it a very versatile
Uninsta Font
Uninsta is a neutral sans serif font family intended for use across a variety of modern applications in both digital and print media. Geometric letter forms are combined with subtle humanist touches to create a legible, low contrast typeface with
Synchro Font
Designed by Alan Birch in 1984 for Letraset, Synchro is a tech styled typeface that still holds a great retro flavor. Synchro works great in digital themed type settings, a unique alternative to using OCR. Published by URW Type Foundry
Heltar Font
A modern neo-grotesque typeface. Having grown up in Sheffield and been completely immersed in the work of The Designers Republic I became very drawn to their treatment of Helvetica, especially the close tracking of the letter space. This visual investigation