Hydrella is a modern sans serif with sharp, unique features and moderately high contrast. Its easily distinguishable attributes provide just enough of a fresh new look without overpowering the overall design.
Available in 9 weights, Hydrella works well as both a display typeface and in smaller sizes.
Jazz up your project with Jarric. It’s a vibrant, bold and delightfully random hand-drawn font; an excellent choice for creators and makers. From attention-grabbing graphics and prints, to branding and creative projects, you’ll be sure to stop them in their tracks with Jarric.
Jarric includes a upper and lower case characters, numbers, and full multilingual support
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Besans Handmade sans font. It features tall characters that will take your projects to the next level!
This font is PUA code which means you can easily access all the glyphs that are full of sans! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ...
so it can make your product look sans and attractive, and also Multilingual support!!!
Happy design ...
Greycliff Thai CF adapts Greycliff's popular soft, geometric design to the Thai script. Both Latin and Thai scripts are included, allowing for visually cohesive multiple-script applications. Greycliff Thai CF includes nine weights, obliques, and full Thai diacritics.
Greycliff Thai CF works as a complete, self-contained type system, with both Latin and Thai scripts included and designed to compliment one another.
All typefaces from Connary Fagen include free updates, new features, and free technical support.
Dress Code is a modern sans-serif font family that includes 12 fonts: 2 styles - regular and round, each with 6 weights - extra light, light, regular, medium, semi bold and bold.
Also included in this font are many alternatives that give you more options for creating your project. with them, you can be unique and experiment with your design.
This font is easy to read and versatile, suitable for editorial tasks, creating logos, book and magazine covers, cosmetics, advertising, branding, wedding invitations, posters, postcards, labels, business cards, packaging and much more.
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!:
Oceanwide can be used for:
The styles it can take are also many. It's great for:
DESIGN FEATURES
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.
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!:
Oceanwide can be used for:
The styles it can take are also many. It's great for:
DESIGN FEATURES
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.
