Typography

Collletttivo is an Open Source type foundry

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Free typeface catalogue, focusing on somewhat contemporary type.

A new platform for open-source fonts in a noise-free environment, to highlight their beauty, extend functionality and encourage further exploration.

Fontshare is a free fonts service from the Indian Type Foundry (ITF), making quality fonts accessible to all.

This website is a curated collection of typefaces that are available under a variety of free licences somewhere on the interwebs.

Telegraf combines the forms of mid-century grotesks with rigid angles.As its weight increases, Telegraf’s counters become more rectangular, to help with on-screen viewing at small sizes,and to increase impact at large sizes. Telegraf comes in 8 weights plus variable. 8 styles with 429 glyphs each.Language support for the Americas and most of Europe.Designed by Nick Losacco

Free typeface catalogue, focusing on somewhat contemporary type.

A legible monospace font… the very typeface you’ve been trained to recognize since childhood

Convert variable-pitch fonts to monospace (useful for unicode and indentation-friendly programming) - GitHub - cpitclaudel/monospacifier: Convert variable-pitch fonts to monospace (useful for unic...

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The wide range of styles makes Delphia an ideal tool for a variety of applications, whether in print or on the web.

Finding good typefaces for new projects is tough. Here are my top 10 typefaces in use by some of my favorite designers. pic.twitter.com/V4JywkUXEw— Nick Pattison (@nick__pattison) March 16, 2023

Arabic type foundry

Söhne is the memory of Akzidenz-Grotesk framed through the reality of Helvetica. Test the free fonts, see them in use, read about their design and buy for Desktop, Web & App.

A highly flexible variable font for design, code, and UI.

Extraset is an independent Swiss type foundry established in Geneva, jointly led by Alex Dujet (Futur Neue), Xavier Erni (Neo Neo), Roger Gaillard (Cécile + Roger) and David Mamie (TM Todeschini + Mamie). Extraset publishes professional typefaces made by graphic designers for graphic designers.

A new typeface – greater legibility and readability for low vision readers Atkinson Hyperlegible font is named after Braille Institute founder, J. Robert Atkinson.  What makes it different from traditional typography design is that it focuses on letterform distinction to increase character recognition, ultimately improving readability.  We are making it free for anyone to use!

Coanda: an ideology of the future, crafted from the past. Coanda honours the ambitious outlook of 20th century designers Wim Crouwel and Mimmo Castellano, and pays respect to the meticulous detail crafted by The Designers Republic. Although modularity and strict measurements have been retained throughout letterforms and corner components, Coanda occasionally replaces strict rules by […]

Design and development for modern typography

Helvetica Monospace Coding Font. Contribute to weiweihuanghuang/fragment-mono development by creating an account on GitHub.

an independent digital typeface foundry and graphic design studio

GT Ultra dances between the worlds of sans and serifs, fusing calligraphy and construction. The versatile typographic system combines the centuries-old context of serif type with the dynamism of modern sans; challenging its own definition and questioning contemporary typographic expectation.

“The vertical metrics of the Martian Grotesk and Mono typeface family are one reason they work great in UIs. In this thread, I explain how “equal” metrics—metrics that lead to equal space above and below the text—can make digital design and development easier. #uiux #typography”

A love letter to the golden era of computing.

Making the web more beautiful, fast, and open through great typography

Around the 1850s, a new typeface genre emerged, marked by pointed serifs and capitals of harmonized widths. It quickly evolved into an international phenomenon, with variants known by largely random names such as Latines in France, Renaissance- or Etienne-Schriften in Germany, Latin and Runic in England, as well as Celtic in the United States. Apris is a contemporary typeface design that adopts several features of this genre, like a moderate stroke weight contrast distributed along a vertical axis. Most significantly, its serifs are concave. Stems and arms flare out into acute ends that, depending on their position, resemble trumpet bells or thorns. This sharp look is further enhanced by the shoulders that taper to a point, and by the long-drawn unseriffed terminals on which one could prick oneself. The italics follow the model of the inclined roman, optically corrected, but without any cursive or narrowed shapes. This decision is in line with historical precedents. Latines rarely had an italic, and when they did, slant was the only distinguishing trait. Typefaces of this genre were often all caps. For a present-day release, skipping the lowercase would be too limiting. Apris, however, does sport a large x-height, which ensures a similar compactness of the line band. The design is far from a stylistically pure revival anyway. Throughout the glyph set, one can find elements that seem inspired by other moments in the history of type and lettering. The asymmetrical A with its projecting roof, to name but one example, is a detail frequently found in German Mediäval and Antiqua typefaces from around 1910. The original Latines were a popular choice for jobbing and titling purposes, and particularly common for cards and letterheads. Apris is suitable for a wider range of applications, in print and on screen. The family spans six weights from Thin to Black, with matching italics. Toward the lighter end, it can signal luxury and loftiness. Its medium cuts take on a more assertive voice. Especially when set in the evenly proportioned capitals, they acquire a self-evident quality familiar from shop signs, nameplates or memorial plaques. In the Bold and Black styles, Apris gets funkier and exhibits overtones of 1970s display typography. The fonts offer three alternate glyphs that can be accessed via Stylistic Sets: simpler monocular forms for a and g, and an R with pointed leg that doubles down on the 19th-century provenance.