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The FONTLIBRARY (originally called the Open Font Library) is a project devoted to hosting and encouraging the creation of fonts released under Free Licenses. [4] [5] It is a sister project to Openclipart [3] [2] [6] and hosts over 6000 fonts from over 250 contributors. [7] These are intended to be downloaded, remixed and shared freely. [8]
Open Sans is an open source humanist sans-serif typeface that was designed by Steve Matteson under commission from Google.It was released in 2011 and is based on his earlier design called Droid Sans, which was specifically created for Android mobile devices but with slight modifications to its width.
In 2011 Retina was one of twenty-three digital fonts acquired by MoMA for its Architecture and Design collection [2] after being gifted to the museum by Hoefler & Frere-Jones, and the font is now used by many newspapers for high density texts such as stock information and classified ads. [3] Retina was released for licence to the public in 2016 ...
Adobe Fonts (formerly Typekit) is an online service that provides its subscribers with access to its font library, under a single licensing agreement. [1] The fonts may be used directly on websites, [ 2 ] or synced via Adobe Creative Cloud to applications on the subscriber's computers.
It is one of free (GPL) fonts developed in GNU FreeFont project, first published in 2002. Other such typefaces take creative liberties from Helvetica and its basic letter shapes. Liberation Sans is a metrically equivalent font to Arial developed by Steve Matteson at Ascender and published by Red Hat under the SIL Open Font License .
Benton Sans is a digital typeface family begun by Tobias Frere-Jones in 1995, and expanded by Cyrus Highsmith of Font Bureau.It is based on the sans-serif typefaces designed for American Type Founders by Morris Fuller Benton around the beginning of the twentieth century in the industrial or grotesque style.
[25] Other designers who liked it included Allen Hutt, who described it in Newspaper Design (1960) as "the best of all Medium Sans, the famous Grotesque No. 9". [26] Grotesque No. 9 reached phototypesetting and Letraset dry transfer lettering and, unlike many of the other Stephenson Blake Grotesques, has been digitised in several releases. [27]
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