Showing posts with label Central European. Show all posts
Showing posts with label Central European. Show all posts

Oceanwide Pro fonts from California Type Foundry - (zhsum)

Oceanwide Pro
Oceanwide Pro Oceanwide ProOceanwide Pro



A font perfect for not just one, but many projects! Introducing Pro, a sans that loves to be used in just about any situation! Designed with ultra clean lines and versatility in mind, Oceanwide wants to be your new favorite sans!

Oceanwide’s ultra clean letters work anywhere you want to communicate orderliness and competence, and designed to build trust and rapport with your audience. Its wide proportions make it ideal for display and logo use.

Oceanwide especially shines for white/bright letters on black/dark backgrounds! That’s because the inside shapes are nearly perfect circles in many weights.

We've tested Oceanwide for these industries, with stunning results!:

  • Tech
  • Arts
  • Fashion & Style
  • Business & Branding
  • Corporations
  • Logistics
  • Architecture
  • Food
  • and many more...

Oceanwide can be used for:

  • Headers
  • Subheadlines
  • Logos
  • Even body text, if tracked.
  • Print & Screen

The styles it can take are also many. It's great for:

  • Modern/minimalist design
  • Flat design
  • Cut out design
  • User Interface (UI)
  • Technical designs
  • In combination with text effects, even for grunge and other situations.
  • And many others...

DESIGN FEATURES

  • Simplicity
  • Tall x-height
  • Hand-sloped obliques (italics)
  • Narrow spacing
  • Semi-wide proportions
  • Expert kerning
  • Well proportioned, usable lights & extra lights
  • Large caps
  • Great ALL CAPS MODE
  • Uppercase punctuation
  • Uppercase spacing with California Type Foundry’s Smart Tracking™
  • Advanced fraction support
  • Proportional lining figures
  • Thick joins
  • Smooth curves
  • Sturdy—great for textures and effects
  • Variable font available
  • Latin Pro character set for Central European languages. That's the writing for over 782 languages and transliterations worldwide!

DESIGN STORY—THE FORGOTTEN SANS

by Dave Lawrence, Lead Designer, California Type Foundry

Adrian Frutiger was the 20th century master of sans, but I didn't realize he had made—not one—but TWO geometric sans!

It wasn't until I had purchased the book “Adrian Frutiger: Typefaces”. I had hoped to someday meet Adrian Frutiger, but he passed away that very same year.

Here is the story of Frutiger's forgotten sans. Back in 1968, Frutiger was approached by Pentagram to make a design for British Petroleum. They wanted a "new version of Futura". However, they wanted him to make a couple adjustments. First, they felt that Futura was "too fiddly." By this, they meant that it narrowed too much at the joins. (Joins are for example where the round and straight parts of the 'd' meet.) This is something that is necessary for small print text (to prevent ink clogging), but is not necessary at large sizes.

Second, they wanted it to be entirely geometric, using the circular shape with minimal optical corrections.

Unfortunately this font was not even used very consistently in the BP brand. A haphazard mix of Futura and Frutiger's BP font ensued. It was then replaced by another font design very soon after.

My design is different in several ways. First, the commas and quotes are a more modern style. I tried his original commas, but these just didn’t work to 21st century eyes. Second, in his drawings, Frutiger went for a more standard u with a downstroke on the right. However, Oceanwide has a simpler u.

Third, I made more optical adjustments. At the direction of his employer, Frutiger reluctantly put no font optical corrections into the letters. So I think my optical adjustments are similar to what Frutiger would have wanted.

Fourth, I extended the weight into the light and extra light ranges.

Fifth, the rest of the font I created according to the principles of Adrian Frutiger, but with no sources for inspiration.

Here is Frutiger’s design philosophy, in his own words: “If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.”

The words about the spoon were the ones I kept in my mind as I tried to make the curves ultra smooth, and the shapes ultra simple.

Hopefully this font is a worthy successor to the font that inspired it.

Released on the 93rd birthday of Adrian Frutiger, to celebrate the life and achievements of this amazing designer.

———————

Simplicity. Versatility. Oceanwide.





Oceanwide Pro fonts from California Type Foundry - (ftevm)

Oceanwide Pro
Oceanwide Pro Oceanwide ProOceanwide Pro



A font perfect for not just one, but many projects! Introducing Pro, a sans that loves to be used in just about any situation! Designed with ultra clean lines and versatility in mind, Oceanwide wants to be your new favorite sans!

Oceanwide’s ultra clean letters work anywhere you want to communicate orderliness and competence, and designed to build trust and rapport with your audience. Its wide proportions make it ideal for display and logo use.

Oceanwide especially shines for white/bright letters on black/dark backgrounds! That’s because the inside shapes are nearly perfect circles in many weights.

We've tested Oceanwide for these industries, with stunning results!:

  • Tech
  • Arts
  • Fashion & Style
  • Business & Branding
  • Corporations
  • Logistics
  • Architecture
  • Food
  • and many more...

Oceanwide can be used for:

  • Headers
  • Subheadlines
  • Logos
  • Even body text, if tracked.
  • Print & Screen

The styles it can take are also many. It's great for:

  • Modern/minimalist design
  • Flat design
  • Cut out design
  • User Interface (UI)
  • Technical designs
  • In combination with text effects, even for grunge and other situations.
  • And many others...

DESIGN FEATURES

  • Simplicity
  • Tall x-height
  • Hand-sloped obliques (italics)
  • Narrow spacing
  • Semi-wide proportions
  • Expert kerning
  • Well proportioned, usable lights & extra lights
  • Large caps
  • Great ALL CAPS MODE
  • Uppercase punctuation
  • Uppercase spacing with California Type Foundry’s Smart Tracking™
  • Advanced fraction support
  • Proportional lining figures
  • Thick joins
  • Smooth curves
  • Sturdy—great for textures and effects
  • Variable font available
  • Latin Pro character set for Central European languages. That's the writing for over 782 languages and transliterations worldwide!

DESIGN STORY—THE FORGOTTEN SANS

by Dave Lawrence, Lead Designer, California Type Foundry

Adrian Frutiger was the 20th century master of sans, but I didn't realize he had made—not one—but TWO geometric sans!

It wasn't until I had purchased the book “Adrian Frutiger: Typefaces”. I had hoped to someday meet Adrian Frutiger, but he passed away that very same year.

Here is the story of Frutiger's forgotten sans. Back in 1968, Frutiger was approached by Pentagram to make a design for British Petroleum. They wanted a "new version of Futura". However, they wanted him to make a couple adjustments. First, they felt that Futura was "too fiddly." By this, they meant that it narrowed too much at the joins. (Joins are for example where the round and straight parts of the 'd' meet.) This is something that is necessary for small print text (to prevent ink clogging), but is not necessary at large sizes.

Second, they wanted it to be entirely geometric, using the circular shape with minimal optical corrections.

Unfortunately this font was not even used very consistently in the BP brand. A haphazard mix of Futura and Frutiger's BP font ensued. It was then replaced by another font design very soon after.

My design is different in several ways. First, the commas and quotes are a more modern style. I tried his original commas, but these just didn’t work to 21st century eyes. Second, in his drawings, Frutiger went for a more standard u with a downstroke on the right. However, Oceanwide has a simpler u.

Third, I made more optical adjustments. At the direction of his employer, Frutiger reluctantly put no font optical corrections into the letters. So I think my optical adjustments are similar to what Frutiger would have wanted.

Fourth, I extended the weight into the light and extra light ranges.

Fifth, the rest of the font I created according to the principles of Adrian Frutiger, but with no sources for inspiration.

Here is Frutiger’s design philosophy, in his own words: “If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.”

The words about the spoon were the ones I kept in my mind as I tried to make the curves ultra smooth, and the shapes ultra simple.

Hopefully this font is a worthy successor to the font that inspired it.

Released on the 93rd birthday of Adrian Frutiger, to celebrate the life and achievements of this amazing designer.

———————

Simplicity. Versatility. Oceanwide.





Download Matita Geometric Fonts Family From Trine Rask

Download Matita Geometric Fonts Family From Trine Rask
Download Matita Geometric Fonts Family From Trine Rask Download Matita Geometric Fonts Family From Trine RaskDownload Matita Geometric Fonts Family From Trine Rask



Matita Geometric is part of a larger type family developed from 2005-2019 with handwriting and teaching in mind. A humanistic geometric sans serif in five weights containing mathematical symbols, roman numerals, fractions, superior-& inferior numerals, tabular & proportional figures. The family share proportions and weights to ensure all fonts (family members) work together well. Matita Geometric is also a very basic typeface suitable for many purposes.


Download Matita Geometric Fonts Family From Trine RaskDownload NowView Gallery


Download Matita Connected Font Family From Trine Rask

Download Matita Connected Font Family From Trine Rask
Download Matita Connected Font Family From Trine Rask Download Matita Connected Font Family From Trine RaskDownload Matita Connected Font Family From Trine Rask



Matita Connected is part of a larger type family developed from 2005-2019 with handwriting in mind. A solid script face in two weights and a dotted instructional version. With alternative glyphs based on different writing habits. For teaching, teaching material or just typography. An unchildish handwritten type family for many purposes.


Download Matita Connected Font Family From Trine RaskDownload NowView Gallery


Download Matita Written Font Family From Trine Rask

Download Matita Written Font Family From Trine Rask
Download Matita Written Font Family From Trine Rask Download Matita Written Font Family From Trine Rask Download Matita Written Font Family From Trine Rask



Matita Written is the first release from a larger type family developed from 2005 through 2019 with handwriting in mind. It is a solid sans serif in two weights and dotted instructional versions, with alternative glyphs based on different writing habits. For teaching, teaching material or just typography. An unchildish handwritten type family for many purposes.


Download Matita Written Font Family From Trine Rask Download Now View Gallery


Download Sylphe Pro Font Family From RMU

Download Sylphe Pro Font Family From RMU
Download Sylphe Pro Font Family From RMU Download Sylphe Pro Font Family From RMU Download Sylphe Pro Font Family From RMU



Inspired by Schelter & Giesecke’s Sylphide Sylphe Pro comes as an elegant, calligraphic Italic with the touch of the Golden Age of type design. This beautiful font encompasses most European languages, Central and West, plus Turkish.


Download Sylphe Pro Font Family From RMU Download Now View Gallery