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TYPE DESIGN, TYPOGRAPHY, TYPEFACES AND FONTS: These pages were permanently closed on May 6, 2022. An encyclopedic treatment of type design, typefaces and fonts. This site is also known as . Full length pages. Index pages.

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An encyclopedic site about typefaces and type design, managed by Luc Devroye

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FontsFree Apple Developer Fonts Atipo Foundry Authentic Sans Awwwards: Free Fonts Barlow Basetica Bernoru Bingo Typo: Free Font Showcase Bit...

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"Before he died in 2013, the great sociologist Robert Bellah said that his view of everything he'd studied across his life was tilted on its axis by this late recognition: when mammals began to bring forth offspring from the center of their bodies, spiritual life became possible. With apes and far more with humans, the period of necessary parental care-care in order for the offspring to survive-became longer and longer. The long helplessness of the child generated a sphere of softening, experimentation, and creativity in self-understanding and shared life."

Krista Tippett, Becoming Wise

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"Before he died in 2013, the great sociologist Robert Bellah said that his view of everything he'd studied across his life was tilted on its axis by this late recognition: when mammals began to bring forth offspring from the center of their bodies, spiritual life became possible.

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She likes to work with unstable media, researching ways to create specific tools, usages or techniques to give us a sensitive experience of our daily environment. In her work she mainly uses textile techniques, hacked machines, DIY electronics, open source software and hardware.

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Collletttivo is a non-profit group of students and young professionals sharing their interest in type design and experimentations. Collletttivo lives thanks to the work of its members and the support of the many downloading and using our free typefaces. If you like our fonts, please consider donating to the collective. Your support helps us keeping the website alive, distributing and updating our open-source font catalogue, organizing talks, printing materials.

Following is a list of our +25€ donors.
Panagiotis Tsironis
Companion Studio
Riccardo Perello
Helena Jaramillo
Blake House Productions
Het Nieuwe Instituut
Raydene Salinas
DR.ME
Igor Petrusev
Jack Design Studio
makebardo
Matthieu Litt
Michèle Fischhaber
Paschalis Zervas
Alison Dyer
Floriane Misslin
Randall Stagg
Daniel Rubio Arauna
Henrique Folster
Les formes associées
Cesar Avila Morales
Fanny Luor

Thank you, it means a lot!

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Collletttivo is a non-profit group of students and young professionals sharing their interest in type design and experimentations. Collletttivo lives thanks to the work of its members and the support of the many downloading and using our free typefaces. If you like our fonts, please consider donating to the collective.

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fuentes diseñadas por tipógrafas.

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Authentic Sans 60, 90, 130, 150 by Christina Janus and Desmond Wong is a typeface intended for situations where Oriya Sangam MN seems too sophisticated and LiHei Pro too vulgar, or vice versa. Authentic Sans explores the semiotic and aesthetic idiosyncrasies of the anonymous Latin glyphs included with CJK system fonts; the typeface aims to subvert the Eurocentric standards of typographic quality and refinement.

Authentic Sans Condensed 60, 90, 130, 150 by Christina Janus and Desmond Wong is a typeface intended for situations where Oriya Sangam MN seems too sophisticated and LiHei Pro too vulgar, or vice versa. Authentic Sans explores the semiotic and aesthetic idiosyncrasies of the anonymous Latin glyphs included with CJK system fonts; the typeface aims to subvert the Eurocentric standards of typographic quality and refinement.

Cirrus Cumulus, dessinée par Clara Sambot, est une typographie sans courbes mais avec plusieurs alternatives au point médian et des glyphes inclusifs et non-binaires. CirrusCumulus by Clara Sambot was designed without using curves and is a hybridization of two styles: it has a lineal-style lowercase set, as well as a script-like uppercase set, while some glyphs adopt italic forms which produce unusual combinations, arabesques and ligatures. CirrusCumulus includes a large panel of characters that can be used to draw figures, shapes or patterns, a variable ligature system, and many non-binary and inclusive glyphs.

Dauphine regular et italic (et Dingbats, ...), dessinée par Coline Sunier, Stéphanie Vilayphiou, Alexandre Leray et Charles Mazé dans le contexte de la nouvelle identité de l'ÉSAD Valence, est une typographie sans sérif basée sur des lettrages relevés sur des cartographies de la fin du XIXe siècle jusqu'au milieu du XXe siècle, et conçue d'après des modèles pour dessinateurs industriels ou cartographes français et américains. La graisse et les formes de la Dauphine se rapprochent des signes mono-linéaires utilisés en cartographie tout en faisant référence aux modèles destinés à l'apprentissage de l'écriture par le squelette des lettres. La Dauphine est l'unique typographie de l'identité visuelle et est utilisée sur l'ensemble des supports. Elle se compose d'un romain, d'une italique (romain penché) et de dingbats dans une graisse moyenne. Afin de créer différents niveaux de lecture en référence à la cartographie, la Dauphine possède un set de caractères en exposant. Ainsi, à partir d'un même dessin, d'une même graisse et d'un même corps, il est possible d'obtenir plusieurs niveaux de lecture. Regular, Italic, Dingbats, Superior.

Literata (italic, bold, ...) by Veronika Burian, Irene Vlachou, Vera Evstafieva and Jose Scaglione (TypeTogether) is a contemporary serif typeface family designed for long-form reading especially in eBooks. Regular, Medium, Semi-bold and Bold + Italic, Medium italic, Semi-bold italic and Bold italic.

Lexend Deca Exa, Giga, Mega, Peta, Tera, Zetta by Bonnie Shaver-Troup and Thomas Jockin is a variable font designed to improve reading, based on a study by educational therapist Bonnie Shaver-Troup who identified that the use of a sans-serif font reduces cognitive noise, expanded scaling improves potential for character recognition and hyper-expansion of character spacing creates a greater lag time and reduces potential crowding and masking effects.

Ortica Light and Bold, by Benedetta Bovani, is a calligraphic serif with two contrasting but matching personalities. Ortica Bold takes inspiration from the work of Czech designer Vojtech Preissig: like his Preissig Antiqua it's made just of straight segments. Ortica Light has an apparently smoother personality: it has curves but it also has sharp and spiky serifs. Used big, Ortica fully shows its construction and character; in smaller sizes it still keeps its elegance and functionality.

TorreFarfan, por Estefanía González Sánchez, es una remasterización digital tipográfica, que tiene su origen en la tipografía barroca del siglo XVII empleada en la impresión del libro realizado con motivo de la canonización de San Fernando, escrito por Fernando de la Torre Farfán del que procede el nombre de la fuente, e impreso en Sevilla en 1671 por la Viuda de Nicolás Rodríguez de Ábrego. The revival brings to light the figure of an unrecognized female printer in Spain in the sixteenth Century, the Widow of Nicolás Rodríguez de Ábrego.

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This collection aims at giving visibility to libre fonts drawn by womxn designers, who are often underrepresented in the traditionally conservative field of typography. These fonts are shared under Free, Libre and Open Source licenses, which allow anyone to use them, modify their design, contribute…

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Compagnon est une famille de caractère composée de cinq styles.

Elle trouve son inspiration sur l'archive de spécimens en ligne Typewriter Database et réunit différents moments de l'histoire des caractères dits typewriters.

Chaque graisse s'appuie sur des références singulières relatives à des périodes significatives, manifestant de l'évolution des caractères dit typewriter.

Compagnon Light et Roman ont été dessinées par Juliette Duhé et Léa Pradine, Compagnon Italic par Valentin Papon, Compagnon Medium par Sébastien Riollier et Compagnon Script par Chloé Lozano.

Faites connaissance avec Compagnon. Vous pouvez l'utiliser, la modifier et la redistribuer librement.

Une autre version de ce caractère substitue la chasse fixe pour un espacement proportionnel, permettant un confort de lecture supplémentaire tout en gardant l'apparence d'un monospace.

"Cette machine, c'est ma machine à écrire."

- Envoyé de mon Compagnon 2018

Alice & Olive aiment manger équilibré, les lévriers et soulever de la fonte chaque soir.

Madame Swazi? Elle ne dactylographie plus depuis que son frère vibre au son du Jukebox.

Crédits

EESAB - site de Rennes
Atelier de création
de caractère, 5e année
Design graphique, 2018

Made in France,
Made in Britanny.

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Compagnon est une famille de caractère composée de cinq styles. Elle trouve son inspiration sur l'archive de spécimens en ligne Typewriter Database et réunit différents moments de l'histoire des caractères dits typewriters. Chaque graisse s'appuie sur des références singulières relatives à des périodes significatives, manifestant de l'évolution des caractères dit typewriter.

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Welcome to the OSP-foundry!

Here you find all fonts produced by OSP. Some of them are complete typefaces, others works in progress. They are all Libre Fonts, meaning they are released under libre software licenses that allow modification, re-distribution and use.

More about why we make/use Libre fonts.

For us, typography is more than the work of solitary masters passing on their secret trade to devoted pupils, committed as they are to a specialist work overlooked by most common people. This image that is carefully preserved in the closed world of type design, obscures the fact that typography today is lightweight and widespread. It certainly contrasts with the invitation of Free Software to anyone to run, copy, distribute, study, change and improve.

Could the production and distribution of Libre Fonts turn this patriarchal system inside out? What if expert and amateur users work together and make improvements to the typefaces they use, what if they share these fixes with others? What if the design of a typeface would benefit from the many eyes of designers working around the world? What if a typeface was not a fixed entity, but a networked set of elements, responding to context and types of use?

At OSP we feel typography is inherently generative, especially since digital files have everything to gain from being copied and re-mixed. We'd rather work with their constraints and affordances, than rely on a contradictory business model that invests more in copyright enforcement than in creative development itself. Typographers forge by nature and (sadly often without credit) appropriate the ideas and designs of their colleagues. We prefer to be explicit about the provenance of our glyphs and curves and hope you enjoy the result as much as we do.

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Welcome to the OSP-foundry! Here you find all fonts produced by OSP. Some of them are complete typefaces, others works in progress. They are all Libre Fonts, meaning they are released under libre software licenses that allow modification, re-distribution and use. More about why we make/use Libre fonts.

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A game that helps you learn to kern type

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Usted ha llegado al sitio 1.0 de Piedra, tijera, papel. Mientras trabajamos para abrir el 2.0 a comienzo del 2021, aquí encontrará una versión de prueba del archivo sobre historias del diseño gráfico en Colombia con cerca de 300 piezas curadas a partir de las misceláneas de la Biblioteca Nacional. Navegue por una selección de publicaciones que van desde 1900 hasta 1947 e incluyen impresos producidos en lugares como Puerto Hormiga, Cereté y Chaparral. Si quiere, pruebe el editor de texto, donde podrá ver letras extraídas de cabezotes y titulares de estas publicaciones.

Para el desarrollo de esta versión contamos con el apoyo de la Biblioteca Nacional de Colombia, Universidad de los Andes - Maestría en Humanidades digitales, Fundación Karisma y La Silueta.

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Usted ha llegado al sitio 1.0 de Piedra, tijera, papel. Mientras trabajamos para abrir el 2.0 a comienzo del 2021, aquí encontrará una versión de prueba del archivo sobre historias del diseño gráfico en Colombia con cerca de 300 piezas curadas a partir de las misceláneas de la Biblioteca Nacional.

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obra > obsolescencia humana

Obsolescencia Humana

Intervención mural
Cinta americana e imán
2017

Intervención mural que forma parte del proyecto "Will you miss me when I'm gone? Yes-No". En este, se hace un análisis libre de cuestiones vinculadas a la tecnología y a la vida útil de los formatos, conectando ideas que tienen que ver con la evolución del cuerpo humano y su propia finitud.

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obra > obsolescencia humana Obsolescencia Humana Intervención mural Cinta americana e imán 2017 Intervención mural que forma parte del proyecto "Will you miss me when I'm gone? Yes-No". En este, se hace un análisis libre de cuestiones vinculadas a la tecnología y a la vida útil de los formatos, conectando ideas que tienen que ver con la evolución del cuerpo humano y su propia finitud.

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Muestras de alfabetos del s.XIX libres para descargar

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Muestras de alfabetos del s.XIX libres para descargar

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Draughtsman's Alphabets | Draughtsman's Alphabets Free Public Domain Ornamental Alphabets | rawpixel

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Incredible original typography from Hermann Esser's (1845-1908) Draughtsman's Alphabets: A Series of Plain and Ornamental Alphabets. Designed...

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(Exposición virtual) reúne obras que tratan el lenguaje no solo como un sistema de comunicación basado en símbolos y signos, gobernado por la gramática, sino como materia abierta a la manipulación...

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Ecstatic Alphabets/Heaps of Language brings together historical and contemporary works of art that treat language not merely as a system of communication governed by grammatical rules and assigned meanings, but as a material that can be manipulated with creative freedom, like paint, clay, or any other artistic medium. The exhibition is divided into two sections. The first is a historical overview of 20th-century art that experiments with the graphic, sonic, and kinetic possibilities of letters and words. With a few notable exceptions, these works are confined to the two-dimensional parameters of a page. The second section presents an installation of contemporary works, most of which do away with the page; some do away with writing altogether.

The artist and poet Emmett Williams observed that "the poem as picture is as old as the hills," citing its beginnings in hieroglyphics, Babylonian pattern poetry, the anagrams of early Christian monks, and the permutational poems of medieval Cabalists. A fascination with language as something to be looked at rather than read flowered in Europe in the 20th century, and from its first decade, poets and artists explored language's ability to transmute into sounds, shapes, and even actions. Inspired by these earlier forays into the merging of art and language, in the 1950s poets and artists in Latin America and Europe created Concrete poetry, a hybrid of visual art and poetry in which the physical form of the poem directly reflects its content. In the 1960s and 1970s, artists continued to work with language as something to be arranged, built, or performed rather than written, taking advantage of new mediums like magnetic tape and telephonic technology to propel language off the wall and into the environment.

In the contemporary works on view, language is boldly cut off from literature, received meanings, and, in some cases, the duties of communication altogether. Moving freely among disciplines and mediums, artists have transformed letters, words, and phrases into patterns, sounds, moving images, and objects, celebrating the synesthetic qualities of language without reducing it to pure form. Animated, broken down into phonemes, blown up to enormous proportions, reduced to abstract marks and body movements, or repurposed from the flotsam of everyday life, the language in this recent work complicates, even frustrates, reading. In its antic, irreverent, poetic, ecstatic impracticality, it advocates for freedom from the strictures obeyed by language of the more practical sort, which defines, orders, and controls the world we live in.

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MoMA | Ecstatic Alphabets/Heaps of Language

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Ecstatic Alphabets/Heaps of Language brings together historical and contemporary works of art that treat language not merely as a system of communication governed by grammatical rules and assigned meanings, but as a material that can be manipulated with creative freedom, like paint, clay, or any other artistic medium.

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Conferencias sobre tipografía en The Cooper Union

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Conferencias sobre tipografía en The Cooper Union

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http://coopertype.org/lectures

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Slanted Publishers is an internationally active publishing and media house founded in 2014 by Lars Harmsen and Julia Kahl. They publish the award-winning print magazine Slanted, covering international developments in design and culture twice a year. Since its establishment in 2004, the daily Slanted blog highlights events and news from an international design scene and showcases inspiring portfolios from all over the world.