What languages/scripts does “x family font” contain? Each font has a dedicated information panel in the Library section of the website giving details of language support. Aktiv Grotesk is currently the only one in our library that includes Chinese, Japanese and Korean. You will be able to obtain these scripts through our. Grotesk fonts. Niedermann Grotesk. Aktiv Grotesk by Dalton Maag Category: Modern. Evolve Your Artwork with the Darwin Font Family - 20 fonts for.

Helvetica is a tried and true typeface. It’s a testament to Swiss design culture, with its clarity, flexibility and outright perfection. This famous typeface is loved for countless reasons, including its ability to take on any feeling, emotion or imagery, which it can do simply because it has no personality of its own. Helvetica deserves our utmost respect, but there’s a problem with Helvetica that needs calling out: too many designers are permanently stuck on it, and that’s a disservice to every other sans-serif typeface out there. And so, to help you begin exploring the endless alternatives that exist in the world of type,, an independent online compendium for Typography, has teamed up with TNW to create this list 30 must-see Helvetica alternatives: 1.. 30 About this list While we were at it, we also spent a little time talking with Typecache cofounder Taro Yumiba to learn more about the site, and how this list came to be: HW: Why did you create this list of alternatives? Yumiba: Obviously Helvetica is overused and we think designers are constantly looking for alternative typefaces to replace it.

China Middle Of The Night Mp3 Download. However, I am not surprised to hear that designers often give up on finding one and just go for Helvetica. It is almost becoming a default or a given option as a San Serif font.

We think that finding a good typeface is part of the designers’ job, and through the list, we would like our fellow designers to explore other options so that they can start embracing all typefaces. HW: What can these fonts offer that Helvetica doesn’t?

Yumiba: Each face is different. There are so many different characteristics to the shapes of letters, too. We cannot describe every single difference of those alternatives, but there are many better typefaces than Helvetica, so why not try using them? (Don’t get me wrong Helvetica is not bad.) HW: Should designers balance the use of highly popular fonts with lesser known ones for variation?

Yumiba: I don’t think it is necessary, but I would rather see designers that try lesser known fonts than ones that just stick to whatever popular typefaces is out there. However, the bottom line is that it’s all about choosing and using a typeface that works best in the context where it is used. That makes a great difference. HW: Lastly, could you tell us a little bit about Typecache? Yumiba: There are many great type foundries around the world. It has been really difficult to keep up with the activities of every single one of themso why not collect their information and make an online compendium? This is how we started the project.

As typographic literacy grows, the site will hopefully be a useful resource for designers, art directors and type enthusiasts. For more, check out Typecache’s complete “font cluster” of — there are 90 total alternatives! The team has created an impressive, as well.

License By using or installing this font data, you (or you on behalf of your employer) agree to be bound by the terms of this Agreement. This Agreement constitutes the complete agreement between you and Nick's Fonts.NUMBER OF USERS: In consideration for the license fee paid, Nick's Fonts grants to you only, the Licensee, the non-exclusive, nontransferable right to use and display the font data.

If you are using this product for your work, this agreement applies to your employer. Nick's Fonts may be used on up to five (5) CPUs at your site connected to any number of printers or other image-producing devices (regardless of resolutions) at your own site.

You may make one (1) copy of the Nick's Fonts font data solely for backup purposes provided the copyright and trademark notices are reproduced in their entirety on the backup copy. License NOTIFICATION OF LICENSE AGREEMENTYou have obtained this font software either directly from Monotype Imaging Inc., its affiliates or its licensees.You acknowledge that the font software is protected by the copyright and other intellectual property law of the United States and its various States, by the copyright and design laws of other nations, and by international treaties. Your use of this font software is limited to the rights license rights granted to you in the Monotype Imaging End User License Agreement (EULA) agreed to by you at the time of purchase and you should retain a copy of such EULA for your future reference. You may not use, rent, lease, sublicense, give, lend, or distribute the font software, or any copy thereof, except as expressly provided by the EULA.The current Monotype Imaging End User License Agreement can be viewed at •.

Overview Aktiv Grotesk eight new weights Dalton Maag have today (18/01/13) released eight new styles/weights of the superb Aktiv Grotesk font: Hairline, Thin, Exta Bold and Black, with matching italics. The launch coincides with the font’s use in the English National Ballet brand new identity and campaign.

Dalton Maag Press Release Information The English National Ballet are launching a radical new brand and advertising campaign that uses Dalton Maag’s Aktiv Grotesk for their new logo. The campaign, by creative agency The Beautiful Meme, features stunning photography of English National Ballet dancers wearing couture garments by Vivienne Westwood. Dalton Maag’s Aktiv Grotesk was modified to create a unique logotype for the ballet company. The starting point was Aktiv Grotesk Bold, with the spacing and leading of the individual characters being refined to create the perfect typographic balance for the words “English National Ballet”. The most major modification was to replace the standard Aktiv Grotesk “g” with a new two-storey version for greater aesthetic appeal. Aktiv Grotesk was chosen for its clean lines and modernity, which challenge the traditional image of ballet. Ben Haworth, Creative Director of The Beautiful Meme said: “The decision was made quite early on to deviate from any visual preconceptions of ballet predominantly including script or baroque serif typefaces.

We wanted a brand typeface that would reflect and support Tamara Rojo’s artistic vision of communicating a core truth that everyone in the Company has something to say. Aktiv Grotesk seemed the perfect vehicle to profess the English National Ballet’s new bold and confident position. It’s an exquisitely drawn typeface that has the creative quirks and character to distinguish from other more clinical grotesque fonts. Its clean and contemporary feel also has a degree of neutrality which is key for future collaborative projects across a wide range of the arts to enhance the vision of the ENB being the UKs most creative company.” Bruno Maag, Creative and Managing Director of Dalton Maag said: “The dancers must take center stage, and the stunning imagery makes this clear. Our Aktiv Grotesk font supports this ambition clearly and cleanly. The choice of a bolder weight is inspired, as it avoids the fashion trap of using very thin styles so often seen in brands related to fashion and art.” The brand campaign was was shot on location in London, East Sussex and in Holborn Studios by Guy Farrow working with the Vivienne Westwood team.

The dancers were choreographed by English National Ballet’s Associate Artist George Williamson. The Vivienne Westwood collections were chosen specifically to emphasise the non-conventional but classical image. The couture garments used within each image were specially selected from both Vivienne Westwood’s extensive archive and paired with pieces from the latest Spring-Summer 2013 collections to continue the idea of mixing modernity with tradition. Both the clothes and the images created symbolise this feeling of British avant-garde and are seductive and elegant yet commanding. They reference historical dress and British culture, whilst most importantly celebrating the human form. In Vivienne Westwood’s own words: “My clothes allow you to project your personality, and are theatrical in the sense that they are real clothes, well-designed, and they give you a chance to express yourself.”New weights of Aktiv Grotesk are being launched today to coincide with the font’s use in the English National Ballet campaign. About Dalton Maag Dalton Maag was founded in 1991, and designs high quality fonts and logos for its clients.

With bases in London, Vienna, Hong Kong and Brazil, the company now employs 39 people from ten countries, and handles a wide variety of projects, many of them large and high profile. Dalton Maag’s international clients have included such big names as Nokia, Ubuntu, the FA Cup, Toyota and BMW.

A speciality of the company is our expertise in non-Latin scripts, including Devanagari, Arabic, Cyrillic and Hebrew. —
Thanks to Thalia Teasdale Dalton Maag for the images and information Related posts December 11th, 2017 October 25th, 2017 September 29th, 2017 September 29th, 2017 September 20th, 2017 Comments No comments yet - be the first. Leave a comment.