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Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1987 [1] and released in 1988 by Linotype GmbH.. The word avenir is French for ' future '.As the name suggests, the family takes inspiration from the geometric style of sans-serif typeface developed in the 1920s that took the circle as a basis, such as Erbar and Futura.
The Public Type or PT Fonts are a family of free and open-source fonts released from 2009 onwards, comprising PT Sans, PT Serif and PT Mono.They were commissioned from the design agency ParaType by Rospechat, a department of the Russian Ministry of Communications, to celebrate the 300th anniversary of Peter the Great's orthography reform and to create a font family that supported all the ...
The typeface Avenir Next in condensed and regular widths. Some typefaces include fonts that vary the width of the characters (stretch), although this feature is usually rarer than weight or slope. Narrower fonts are usually labeled compressed, condensed or narrow. In Frutiger's system, the second digit of condensed fonts is a 7.
The "Included from" column indicates the first edition of Windows in which the font was included. ... Bold: Hebrew: XP, Vista: Aldhabi [6 ... Ink Free [6] Display ...
Lucida Grande (former Mac OS X system font, used from Mac OS X 10.0 to Mac OS X 10.9) Designer: Charles Bigelow, Kris Holmes Class: Humanist : Lucida Sans Designer: Charles Bigelow, Kris Holmes Class: Humanist : FS Me Designer: Jason Smith Class: Humanist : FF Meta Designer: Erik Spiekermann Class: Humanist : Microsoft Sans Serif Designer ...
Univers Bold Condensed on a London street sign Charles Peignot envisioned a large, unified font family, that might be set in both the metal and the photo-composition systems. Impressed by the success of the Bauer foundry's Futura typeface, Peignot encouraged a new, geometric sans-serif type in competition.
"Optima nova" is a redesign of the original font family, designed by Hermann Zapf and Linotype GmbH type director Akira Kobayashi. [15] [16] The new family contains seven font weights, adding light, demi, and heavy font weights, but removing extra black weight. Medium weight is readjusted to between medium and bold weights in the old family scale.
Much imitated was the Thorowgood "grotesque" face of the early 1830s. This was arrestingly bold and highly condensed, quite unlike the classical proportions of Caslon's design, but very suitable for poster typography and similar in aesthetic effect to the (generally wider) slab serif and "fat faces" of the period. It also added a lower-case.