[nhnku] Download Organic Pro fonts from Positype

Designed by Neil Summerour, Organic Pro is a sans serif font family. This typeface has sixteen styles and was published by Positype.

Organic Pro

When I released the original Organic in 2009, I was satisfied with it. It was what was possible from me and the technology at the time. The Organic Pro of 2021 takes those original desires of delivering a highly legible and friendly sans serif, and doubles down on those notions, while exploring what further infusing warmth in a highly structured sans serif can really do for a client.

Free of distracting and potentially dating visual traits and cues that could be seen as endemic of a specific time period or ‘type trend’, Organic Pro is its own person—take it or leave it. Inviting warmth, assured reliability, and a head nod of confidence is what you walk away with—a stark contrast to the cold, impersonal geometrics and grotesques proliferating the design annuals currently. Releasing this typeface now, completely redrawing the masters, as well as expanding the weight and language options, should be seen as a laid back challenge that we need to do less with type, let it communicate confidently and warmly when it needs to, and stop forcing one-size-fits-all type trends on everyone.

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[jflkc] Download Tinkuy Patterns fonts from Sudtipos

Designed by Vanessa Tinizara and Alejandro Paul, Tinkuy Patterns is a dingbat font family. This typeface has six styles and was published by Sudtipos . Tinkuy Patterns Meaning of Tinkuy. Tinkuy is a Quechua word that means a meeting of opposing forces that complement each other. A meeting of opposites and differences. A meeting point where different thoughts, interests, feelings and aspirations confront and converge, providing the resurgence of new ways of thinking and that are embodied in confrontational actions, in mobilizations that seek change. Tinkuy patterns is born from the analysis of different archaeological pieces of native cultures of the Andes, where the visual signs that are recorded on them are related to the concept of encounter. It is part of the research project Crónicas Visuales del Abya Yala by designer Vanessa A. Zúñiga Tinizaray. The Tinkuy Patterns . The Tinkuy Patterns system is divided into six files containing a total of more than 2650 modules that

[zltxy] Download Mandrel Didone fonts from Insigne Design

Designed by Jeremy Dooley, Mandrel Didone is a serif font family. This typeface has fifty-four styles and was published by Insigne Design . Mandrel Didone A new family has sprung from the world of insigne. Mandrel Didone is his name. The face is well-liked by those with whom it seeks an audience because of its courtly demeanor and exquisite look. Mandrel Didone conducts itself beautifully in front of each set of eyes with a confident attitude, never wavering or tripping in its polished step. But, despite it’s gentility, this exquisite family is not weak in the face of adversity. Mandrel Didone is a powerful and conspicuous typeface that has towering x-heights, great contrast, confident bends, and sharp serifs. It is well-crafted for high-impact resistance. It uses its sharp serif ends deftly, cutting through opponents’ clumsy clutter in the battle for the reader’s attention. This noble family consists of nine weights and their matching italics, ranging from Thin to Black. M

[qpwzb] Download Perva fonts from Eller Type

Designed by Emerson Eller, Perva is a multiple classification font family. This typeface has three styles and was published by Eller Type . Perva Perva is a suite of three eye-catching fonts inspired by display types from the 19th century. This unconventional family has three different font styles that can be used individually or combined to build a playfulness multi-typeface design system. It is suitable for titling, posters headlines, book covers, packaging, social media, and branding. Perva brings together a Slab serif font, a.k.a Antique or Egyptian; a Reverse-contrast or Italian; and an Old English Blackletter. The design is inspired by the display types listed as “Typographic monstrosities” in Thomas C. Hansard’s book Typographia (1825). What he founds absurd was understood here as interesting and enjoyable to introduce a contemporary approach of the types widely sold by foundries such as Bruce’s New York Type-Foundry and Caslon Foundry. Each of the three fonts holds

Richard Hills

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