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Download Amica Pro Font Family From Schizotype

Download Amica Pro Font Family From Schizotype
Download Amica Pro Font Family From Schizotype Download Amica Pro Font Family From SchizotypeDownload Amica Pro Font Family From Schizotype



Welcome Amica Pro, a workhorse sans designed to give your branding a friendly, approachable look. What is it that makes a typeface friendly? Schizotype undertook extensive research* in this and the results are in! To cut a long story short, friendliness in sans serif fonts can be summed up in two words – short and fat. Basically, think Danny DeVito in letter form. The shortness in Amica Pro is achieved (somewhat counterintuitively) by pushing up the x-height. This, coupled with short ascenders and descenders, gives the text a squat appearance. For the fatness, that's easy in the bolder weights, but how to carry this through to the lights? Here, the fatness equates to roundness, so the letterforms, even if the stroke weight is light, have a rotund appearance from the wideness and roundness of the circular glyphs. When thinking about friendliness, we think about inclusiveness. To this end, Amica Pro supports a super wide range of latin-based languages, as it uses Underware's Latin Plus character set, as well as extra support for Vietnamese. Amica Pro is best used for branding, logos, infographics etc. It will give your UI a friendlier feel, but that doesn't mean it's not serious. There are many useful typographic features, including alternates, numerous figure styles, automatic fractions and case-sensitive forms. The italics are carefully optically corrected "sloped romans" and as such they are the same width as their upright equivalent, so changing your copy to italics will not mess around with the spacing. *I looked at a few fonts and drew some lazy conclusions.


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Download TT Interfaces Font Family From TypeType

Download TT Interfaces Font Family From TypeType
Download TT Interfaces Font Family From TypeType Download TT Interfaces Font Family From TypeTypeDownload TT Interfaces Font Family From TypeType



Based on the positive experience in creating typefaces such as TT Norms Pro and TT Commons, we once came up with the ambitious idea of trying to create the perfect typeface to work in modern interfaces on most known mobile and web platforms. We took this project very seriously and, before proceeding with the design itself, we carried out rather extensive research work. You can learn the detailed history of the typeface creation in the article by the link, and here we will tell you what we got in the end. TT Interfaces consists of 22 styles: 18 styles in the basic family, and 4 monospaced fonts. The main visual features of TT Interfaces include the open aperture of the characters, the uniform distribution of white and black, as well as excellent readability. The general neutrality of the font pattern is not without elegance, and all the details of the typeface are made with mathematical precision and love. In addition, TT Interfaces has the most advanced manual TrueType hinting. The basic TT Interfaces family consists of 18 styles (9 weights and 9 obliques), in each of which there are more than 930+ glyphs. In the typeface, you can find old-style figures, stylistic alternates, mathematical signs, as well as 100 universal icons divided into five thematic groups: basic actions, states, sections of the site, documents and folders, mobile interface. TT Interfaces supports more than 180 languages based on extended Latin and Cyrillic, including Bulgarian localization. TT Interfaces Mono is a complementary family of 4 styles (2 upright and 2 obliques), each of which consists of 740+ glyphs. We intentionally changed the sign composition of the Mono subfamily—we added special characters to the encoding and removed everything that was not needed (for example, ligatures). Although Mono borrowed the basic style-forming aspects of the main family, for example, the openness of the aperture or the degree of rounding of the circles, but due to the monospace, it adds some of his own character. First of all, this difference can be found in the changed design of signs, in noticeable visual compensators, as well as in italics, whose design is made in a more humanist way.


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