Swashy variations of standard letters, custom ligatures, special characters, and other lovely extras are all hidden treasures in OpenType fonts. OTF files are the ones to contain custom ornate alternates unlike their TTF counterparts. When installing these fonts, make sure you choose the OpenType (.otf) font file. Each one of them is unique and charming in its own way. However, if you prefer to use these fonts in their original version, you can still choose them for a wide variety of projects, from wedding invitations to Nostalgia Script with and without glyphs: If you need to brush up on how to access and use glyphs, check this out: Font Tips: How to Easily Access and Use Glyphs Using glyphs is a simple and often overlooked practice to improve the overall appearance of text in minutes. The best way to access the glyphs is to use software that supports OpenType features, such as Adobe Illustrator, Photoshop, CorelDraw or Affinity Designer. All the swirly alternatives of standard letters and characters will help you customize and elevate your designs with minimal effort. What’s more? Most of these fonts come with dozens of beautiful alternates – glyphs. These fonts just call for a beautiful design.įor more typography inspiration, you can read my next post, Free Modern Script Fonts With Stylish Glyphs For Commercial Use – Part 2, which continues this font collection series. Using any of these fonts can up your typography game and make any project a hundred times more enjoyable to work on. I hope this will make searching for the right font for those t-shirts, farmhouse signs, or mugs intended to sell easier. Hands down, one of the great sites that allows you to use fonts for commercial use at no charge is Font Bundles. I looked and sifted through font sites to find the fonts that can be used both for personal and commercial projects. So you are limited by the number of projects you can use these fonts for and also left with a barebone version of otherwise a feature-rich font with tons of lovely extras. But in many cases, free fonts that you find online come with a personal use license and can only be downloaded as a demo version with no glyphs or additional characters support. The number of fonts available to designers and crafters is infinite, so is the amount of time you spend looking for that perfect fit. I know my way around typography and the best classic typefaces that would suffice for any design, but new fonts keep inspiring me at every turn. Discovering the power of fonts and learning all about tails, stems, and ears that letters are made of was the best takeaway from my years in the graphic design program. More.The most important thing I’ve learned from my experience as a graphic designer is that typography alone can make or break a design. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity.Ī full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The C and S are drawn more open, terminals slightly shortened. The middle apex of the W is narrowed and the glyph is a little more condensed. The stroke junctions of M and N are further narrowed and their interior apexes modified. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet the high interior apexes were lowered and the wide joins thinned. Letters were then remodelled to improve their use on street signs. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. K-Type Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London.
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