The key to this visually pleasing trend is the use of big-personality typography, which adds rhythm and contrast to compositions. Visual hierarchy can be created through typography contrast - either by color, size, or shape and to make compositions more readable complex alignments can be used. To inject more personality into our designs and attract attention, we can use carefully chosen font pairs (a combination of two different fonts). Regular, Italic, Dingbats, Superior.Typography is currently playing a central role in web design, with progressive improvements like Variable Fonts, CSS Shapes, FlexBox, CSS Grids and Subgrid definitively changing the way we work with typography in web design.Ĭurrent trends in web design see the use of editorial style typography, graphic design sources, and designs laid out in the style of posters - nicely portrayed in this project about Typography Principles. 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. Afin de créer différents niveaux de lecture en référence à la cartographie, la Dauphine possède un set de caractères en exposant. Elle se compose d’un romain, d’une italique (romain penché) et de dingbats dans une graisse moyenne. La Dauphine est l’unique typographie de l’identité visuelle et est utilisée sur l’ensemble des supports. 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. Web: Instagram: - Exhibition by the MICA Design League at MICA Baltimore, March 2019ĭauphine 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.
Leslie Fienberg, a who was a typesetter before a writer documenting queer/trans* experience, reminds of what “has not yet been written” on the front of the facade.
#TYPO DESIGN FREE WINDOWS#
Windows are added to the building's simple, Brutalist form to ensure a level of transparancy that mirrors the form and values of the Badass Libre Fonts website. The former deposit box is converted to a mailbox, and a typographic mural activates the side of the building facing the art school MICA.
#TYPO DESIGN FREE FREE#
The concept includes a space that is free and open - because space is a resource - in which the public can modify material by screenprinting typefaces onto it. How do those values and resources become physical? Badass Fonts is free, feminist, open-source, and exists only online. Jérémy Landes, type and graphic designer, Studio Triple, Velvetyne Type FoundryĬan a building be a type specimen? In this concept, I (digitally) installed the collection Badass Libre Fonts by Womxn, a project of Loraine Furter, in Baltimore’s brutalist KAGRO building.
More fonts by womxn (all sorts of licenses): To support the designers, you can plan in the design budget of your project some money to donate to the designer directly, commission them with custom font designs, invite them to give a lecture and spread the word about their great designs! They are generously published for free, feeding an ecosystem of sharing and collaborations.
These fonts are shared under Free, Libre and Open Source licenses, which allow anyone to use them, modify their design, contribute more glyphs or styles to their non-nuclear families, build upon them and redistribute them further. Created in 2018, this collection aims at giving visibility to libre fonts drawn by womxn designers, who are often underrepresented in the traditionally conservative field of typography.
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