Is a significant update to Matthew Carter’s handsome headline face based on the largest sizes of William Caslon’s metal type. Released in 1994 and bundled in OS X for many years, Big Caslon is familiar to anyone with a Mac. It quickly gained favor among designers, gracing the pages of publications like Wallpaper and Boston magazines, and it even secured a place at the in 2011. But users were limited to a single style. Now there are six: Regular, Bold, and Black weights, each with an Italic.

Apr 25, 2012. Popular Fonts. Gretoon August 18, 2011. Channel August 10, 2011. Facebook Letter Faces November 15, 2013. Urban jungle September 4, 2011. Orial August 9, 2011. Jan 28, 2015. Key words: redevelopment, arts, cultural policy, industry, gentrification, urban planning, New York City. The art unfolded as a riot of fonts and styles, depictions and appropriations, modes and moods. This was the 5 Pointz. Figure 2 Part of the 5 Pointz building the day after whitewashing, November 2013.

This new variety of styles makes the family suitable for web designs that require flexibility and contrast in their headlines. That’s why Font Bureau is simultaneously releasing FB Big Caslon at Webtype along with the. As the name implies, use FB Big Caslon big (48px+).

Most default “web-safe” fonts were designed for text sizes, so one of the more exciting advantages of webfonts is the opportunity to deploy display typefaces in all their fine detail. When most of us think display type, we think brash, quirky, or ornamental, but Big Caslon is big type of another sort: striking in a classic, graceful way. The versatility of FB Big Caslon is demonstrated by its ability to combine with a wide variety of type styles. Here it is paired with,, and /. Big Caslon presents the opportunity to dress up a design without ostentation.

Mr Ray Vst Keygen Idm. It can be ’s more delicate counterpart for grand heads, or serve as a harmonious companion for an oldstyle serif like. And, of course, it can bring a sense of warmth and elegance to a sans-seriffed screen that might otherwise feel too technical or cold. While the roman styles are fairly reserved, FB Big Caslon lets loose in its italics, where web users can access a range of decorative alternates via.

A sampling of the various alternative glyphs and ligatures available in FB Big Caslon Italic. Small caps, figure options, fractions, and other accessories are also included. See this document for a complete list of glyphs and features. Along with these ornamental niceties, FB Big Caslon offers a more complete typographic arsenal than we have grown to expect from most webfonts: small caps, both lining and old style figures, fractions, and a complete set of case-sensitive punctuation (so your questions and exclamations are always in alignment). Perhaps most valuably, FB Big Caslon has an Extended Latin supporting languages of Central and Eastern Europe.

This is more than a pretty face. The Webtype debut of FB Big Caslon, by the way, follows on the heels of Carter’s other display serif, which has a more antique feel. Give FB Big Caslon a try — all fonts on Webtype can be tested on your own sites at no charge for 30 days.

You can use alternate glyphs and other OpenType features of Nitti Grotesk via font-feature-settings in your CSS. More info on how in has its roots in the early English Grotesques, with their quirky and idiosyncratic shapes, that lend it humanity and warmth. The relatively short uppercase letters make Nitti Grotesk particularly suitable for applications with frequent use of caps, like title case and abbreviations.

Alongside, the new sans became widely known through its use in the application and on the app’s accompanying website that launched in December 2013, underlining the clear, straightforward approach of Writer. Nitti Grotesk is optimized for text sizes down to 14px and easy to combine with just about all serif faces. For instance, try and for body copy, or,, and if you need a companion for larger sizes.

As with all fonts on Webtype, Nitti Grotesk can be tested free of charge for 30 days. For more details, see the. Two variants of many: Input Sans and Input Sans Compressed is a new extensive type series designed for code and other texts less ordinary. David Jonathan Ross was looking for fonts better-suited to his programming needs: unambiguous letterforms, clear punctuation, large word spaces for fast skimming, and more options to highlight code syntax.

What started as an explorations into possibilities resulted in a comprehensive system with sans-serif, serif and monospaced families in four widths and seven weights. Input Sans, Serif and Mono bold weights of the normal width Design Variants Input Sans and Input Serif might look monospaced at first sight, but they are not.

Critical characters like m and W are given more room while letters like I, i or l are not forced to stretch. The two families make a great pair in texts and headlines, or provide slightly different flavors on their own. Numerals and punctuation are still designed on the same set-width so they easily line up in tables and strings of numbers. And of course there’s a monospaced variant of Input for when you want one, e.g. Terminal commands or just the pure look of code and correspondence.

Widths All variants of Input are available in normal, narrow, condensed and compressed widths to best meet your preferences and space constraints: normal and narrow styles are dependable choices for small copy, the Compressed and Condensed work well in headlines, narrow columns or lists. For example, short lines of text in portrait mode on mobile devices benefit from rather condensed styles while wider styles suit longer lines — a great feature to experiment with in responsive design. The four widths of Input Serif’s regular weight Weights Input’s seven weights take into account that text on screen isn’t always set black on white. The Thin to Regular styles act like grades, meaning they share the same spacing and show a rather subtle weight difference from one weight to the next. This can be utilized to compensate for lighter and heavier rendering on high- vs.

Low-res screens, or the halo effect of backlit reversed type. Similarly, Medium and Bold make two grades with identical spacing, and complement the Light and Regular respectively. The Regular and Bold weights are optimized for dark text on a light background, while the Light and Medium are designed for light text on a dark background. Input is ruggedized for the roughest conditions and smallest sizes as reflected in the wide proportions, the extremely high x-height and the generous spacing. Ross began by designing a bitmap font and then drew Input’s letterforms on top of it to ensure excellent rendering on screen. The Light, Regular, Medium, and Bold were manually hinted for font-sizes down to 9px in all browsers and platforms.

The Thin, Extra Light and Black styles are meant for medium sizes and display applications. When used large, you might want to set Input with a bit of negative letter-spacing for more vigor.

Several styles of Input combined: Input Sans Condensed, Italic, and Bold, with Input Sans Black and Thin for headlines. The code snippet is set in Input Mono. All these different variants, widths and weights make Input versatile far beyond just code editors. Don’t be overwhelmed by the number of styles (168), they’re only there to give you maximum flexibility. A handful might already be enough, depending on scope and complexity of your work: responsiveness, space, line-length, font-size, positive or reversed text, etc. Input is all about options, also within the character set. Alternate glyphs for often ambiguous letterforms let you choose via stylistic sets which form of i or l you prefer.

All fonts cover the (Western and Eastern Latin, Greek, and Cyrillic scripts) and include a full set of Unicode, as well as fractions, arrows and ornaments (accessible via HTML entities in the style of &#xUNICODE;). We put together a dedicated to show all features of Input in detail and tell the full story behind the design. And the best: Input is available free of charge for private / unpublished usage. This includes things like use in your personal coding app or composing plain text documents. Customize and download your preferred set on the. On Webtype, we offer all styles under an inexpensive publishing license, starting from $5 per style. As with all fonts on Webtype, you can try any style of Input free of charge for 30 days.

For more info see the. Font Bureau’s family is now available in even more styles on Webtype. We added condensed widths and extra light weights for large headlines from elegant to punchy.

Designed in 1993 by Tobias Frere-Jones, Nobel is based on Sjoerd Hendrik de Roos’ from 1929 for the Amsterdam Typefoundry in which Roos tried to enliven the basic forms of Futura. With its subtle warmth and less rigid geometry, Frere-Jones fondly refers to Nobel as “Futura cooked in dirty pots and pans”. Most notable differences are the double-storey ‘a’ and tailed ‘t’ in Nobel which make it more legible than Futura. The low x-height however doesn’t put it (nor Futura) forward for body copy. Especially the delicate weights need ample size to shine (we recommend 60+ px). All styles of Nobel look particularly good in all-caps settings. The large and wide uppercase letters lend it a noble presence (sorry for the pun but it’s true).

The styles are comparably narrow and best suited for headlines. For small body copy, you could combine Nobel with, or a serif typeface like. As with all fonts on Webtype, can be tested free of charge for 30 days. For more details, see the.

Is an extensive sans-serif series by David Berlow originally designed for the smart phone in 2009 (now ) for use both on screen and in their printed material. Initially, Berlow developed a family of six fonts for the Palm user-interface, which were subsequently expanded with the help of Richard Lipton and Dyana Weissman into a versatile family of 40 styles: five weights, four widths, plus italics. The simple, open letterforms of Apres provide a clear and inviting experience for UI navigation, app development and readability on screen. For small-sized body copy or captions, Berlow drew a special version of Apres —. It has a larger x-height and wider proportions for excellent rendering in font-sizes down to 9px across all platforms and browsers. (You can see the two families in action as typefaces for body copy on if you change the window size: normal Apres for large viewports, Apres RE for phone and tablet screen sizes.) Read more about the history of Apres and Apres RE on the.

Apres and Apres RE (right) both in 15px on. Apres RE has a much larger image on the body to stay legible in the smallest font-sizes.

Naturally, Apres is an ideal choice for complex user interface design, but the series is also well-suited for other applications such as editorial or shopping websites. Its modest nature makes it very easy to combine with other typefaces. For example, you can dress Apres up with elegant serif typefaces such as or, go casual by combining it with a sporty script like, or follow the forthright route and pair it with plain-spoken. As with all fonts on Webtype, Apres can be tested free of charge for 30 days. For more details, see the and family pages. Even if sports aren’t your thing, you might find script varsity lettering from years past to have a certain appeal, perhaps conjuring simpler times. Naive and uneven, jaunty and legible — such casual scripts, with their requisite underline swooshes, were standard equipment for baseball teams from one-horse towns to the major leagues.

To bring this aesthetic to the digital arena, Mark van Bronkhorst began with a vintage iron-on alphabet, redesigning the flocked, overlapping letters to behave as a script typeface, and expanding the character set to support all Latin-based languages. Despite its professional skill set with many ligatures and OpenType features, retains the unvarnished spirit of its inspiration. Alternate glyphs, e.g. For G, J, p and þ, as well as many ligatures (activated via the “liga” property) contribute to Mascot’s lively appearance.

A set of swooshes can be added at the end of a word via the “ornm” feature. For a full overview see the on the Mascot family page. Mascot plays well with all text typefaces, certainly with sans-serifs with a slight retro touch. Try van Bronkhorst’s for a bit of added calmness, or, or for body copy. As with all fonts on Webtype, Mascot can be tested free of charge for 30 days. For more details, see the. Continuing our series, we feature another exemplary execution of typographic consistency across platforms, from print to web to mobile.

Cartier Serial Number Ringmaster. Green and friendly is the new face of New York City’s Central Park, and is its new typeface. The comprehensive rebranding by met the Central Park Conservancy’s goal of making the 778-acre landmark richer and more welcoming. Three years after its introduction, the park’s identity is still going strong, and is now extended to all digital and print media for a seamless visitor experience.

Print & Signage The core visual of the identity comes from the park itself: a long, green rectangle derived from an overhead map view. This is reflected in the logo and promotional materials, like the flyer and banner above. These narrow dimensions are also evident in mcgarrybowen’s choice of, an ultra-condensed set of type that echoes the shape of the park, yet still reads comfortably.

For informational and wayfinding signs throughout the park a less extreme width of Titling Gothic is used, but the color, portrait orientation, and typography remain consistent. And read more about it on the. Web Following the lead of these print branding guidelines, the takes advantage of. The size of the Titling Gothic family is highly unusual among webfonts, weighing in at 25 styles. That’s a lot of choice, especially for a web world that is still just getting used to having more than just regular, bold, and italics. Of course, it’s not the opportunity to deploy two dozen styles on one web page that makes Titling Gothic so useful — it’s the breadth of weight and width options that the designer has at their disposal. With a multi-dimensional palette to choose from, the centralparknyc.org team selected a handful of contrasting yet compatible styles that serve the diverse needs of their site, from individually stylized graphics, to, to, to.

Our only advice for smaller running text would be to bump up the size and letter-spacing, which we’ve done for the screenshot above. Bingo — this “Titling” type can deliver readable text, too.

Mobile App On every screen, the is a natural extension of the print and web look. The Conservancy acknowledges and celebrates the fact that visitors will seek info from a variety of platforms, and the congruent identity makes it easy to move from the website to the phone you’re carrying with you in the park.

With an office in New York City just a few minutes away, Central Park is close to Webtype’s heart. We’re honored to be part of a comprehensive visual design that does justice to the park’s role as an urban oasis. Visit the park soon and experience the calm clarity for yourself. The five weights of Giza’s normal “Five” width. Font Bureau’s series brings back the colorful power and variety of the original Egyptian letterforms of the Victorian era. Designer David Berlow based the family on showings in Vincent Figgins’ specimen of 1845, the triumphant introduction of this thunderous style.

Giza’s 16 styles range from compressed to wide and bold to ultra fat, almost completely eliminating any white between and within the letterforms. The first number in the style name indicates its weight and the second number the width, with being the heaviest. Giza’s small-sized relative, available in four styles for text as small as 9px. While Giza is all about presence and punch in large sizes and display applications, — its small-sized relative from the — complements the family for texts down to a font-size of 9px.

With such a variety of styles at your disposal, Giza is a great choice for editorial sites, from striking compact headlines to the boldest banners. See the masthead of our for instance. And remember, you can test all font on Webtype free of charge for 30 days.

For more details, see the. Webtype on Twitter • RT: Special bonus: the wonderful wrote a story detailing the genesis of our holiday card project: • RT: Join us for our second! This year, we’ve made a stack of happy holiday cards for you to share: • RT: In the middle of shopping madness, we reflect on the true meaning of Cyber Monday. • RT: Master calligrapher & type designer will lead a workshop Nov. Don’t miss out! Https • RT: Our friend and colleague will be giving a talk on tonight.

Go learn cool stuff! Https • RT: The open type variable font format is changing the type scene.

On 11/6 come see talk about it • RT: Ain’t no stoppin’ us now: inspirational indie foundry has joined Type Network! Https • RT: Our pal explores type in film posters this PM @. 4:30 / Lando 4301A. Rese • RT: Want more type in your life? Grab our show special: a fab type tee + mug for $20.

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The HapticScript family is a connected brush script with a warm, personal and soft character. The typeface family has five styles from Light through Black.

It was designed as a companion and extension to the Haptic sans-serif family. HapticScript has up to 14 variations for each glyph. The almost 2,000 characters per font including 40+ ligatures enable designers to give each word an individual look.

Many swash characters for initials and word endings make words looks as if they were hand lettered. Five Styles: Light, Regular, Semibold, Bold and Black OpenType features: Ligatures, Contextual Alternates, Stylistic Sets, Old Style figures, Tabular figures • • • or to post comments.

Milica is a display font, inspired on action movies, urban military and martial arts culture, designed with straight verticals but slanted horizontals with no curves at all (sharped hard strokes only) 5 sizes - ExtraLight + Italic - Light + Italic - Regular + Italic - Bold + Italic - ExtraBlack + Italic Recommended use: Poster, Movies, video games, TV, Animation, letterhead, magazines titles, POP & Graphic culture, young stuff, hip-hop topics, urban, big sizes prints, Volumetric 3D shapes, labels, etc. • • • or to post comments. This is my first post! I've currently just started a course specialising in digital design and have an assessment that I need to get feedback on from other designers. I'm still very new to this but here goes nothing!

The main objective for the assignment was to create a shirt and poster for the Salvation Army that can be ordered online; it should showcase their efforts to help and show compassion towards others. I designed my shirt to aim at a broader audience, whereas the poster is intended to show the effort the salvation army has made since 1865. Any kind of negative/positive feedback would be greatly appreciated! Thank you so much! • • • or to post comments. I'm currently working on an event poster for a Fashion Show that will feature graphics that have an almost watercolor feel to them.

However, I'm having trouble finding a font that's really a perfect feel to accompany it. The image is very soft, floral and spring, but I do want a more modern feeling font to counterbalance this and ensure the poster doesn't run too old. Does anyone have any ideas about fonts that would interact well with watercolor images that aren't script? • • • or to post comments.