The Best Free Alternatives to the Most Popular Fonts
A searchable archive of typographic design, indexed by typeface, format, and topic. interstate font free alternative dating. Sep 21, Look at the best sellers on the big font shops and you'll see the same names sitting proudly in top. This all can be seen in the early typefaces he developed at Font Bureau. Gathered here, from Garage Gothic via Interstate to the Poynter and Benton series, and.
Proxima Nova, DIN, Futura and Brandon Grotesque in particular are extremely sought after typefaces that are commonly used in web design, branding and print. Proxima Nova vs Montserrat Since its release just 10 years ago Proxima Nova has pushed aside all the classics and claimed top spot in the best sellers lists.
These fonts look great in uppercase with wide tracking. Also being a pure geometric font means the letters that are made from basic shapes are almost identical, but Josefin does have some unusual characters that break the match. Thankfully most of those characters are lowercase and this style of typeface always looks much nicer in all caps!
FF Tisa vs Bitter FF Tisa is a popular font with some lovely curved slab serifs which I thought would make it impossible to match with a free font, until I stumbled across Bitter. However, Merriweather Sans perfectly matches the humanist style of FF Meta with the subtle contrast in its strokes, as well as similarly shaped bowls.
Baskerville vs Libre Baskerville The classic Baskerville is one of the most popular serif typefaces with many spin offs. One free font that is based on Baskerville, as its name suggests, is Libre Baskerville. The normal weight is much thicker than the official Baskerville font, due to the reduction in contrast of Libre Baskerville to make it easier to read on screen.
Sponsored by Poynter, Tobias Frere-Jones returned to the romans of Hendrik van den Keere, wellspring of our oldstyle tradition, and fashioned the ultimate in serene, readable newstext. An experiment in algorithmic design, Armada follows the verticals and flat arches so often to be found in the architectural geometry of cast iron and brickwork in 19th century American cityscapes.
All of the weights and widths of Armada were drawn by Frere-Jones, offering a full display series of remarkable richness, all variations in a truly architectural theme and discipline. All other ultrabolds seem sluggish in comparison. Tobias Frere-Jones cross-bred the weight, proportion, and rhythms of Nord with the casual grace of his own Cafeteria, gaining informality and a dancing vitality on the page.
In Cafeteria, Tobias Frere-Jones took special care to balance activity with legibility on the paper napkin that served as his sketchpad, drawing a freeform sans-serif that is condensed but in no way stiff.
Frere-Jones lives with a tendency to draw wherever he finds himself. Starting this four-part family in to amuse himself, he eventually amused all of us.
Identifont - Interstate
In Tobias Frere-Jones studied drawings in the Smithsonian and started a redesign. Cyrus Highsmith reviewed News Gothic, and with the Font Bureau studio expanded it into Benton Sans, a far reaching new series, with matched weights, widths and performance well beyond the limits of the original.
Lettering from different areas was combined for Light; Bold was designed for more distant signs. In Citadel, Tobias Frere-Jones follows a stronger alternative, substituting straight strokes for the curved sides of round characters. Flat horizontal curves play against the variety of serifs in counterpoint to the repeating rhythm of verticals. The inline stripe adds to the rhythm of a typeface that offers a powerful and stylish geometry. Griffith Gothic is a revival of the Mergenthaler original, redrawn as the house sans for Fast Company.
Tobias Frere-Jones drew a six weight series from light and bold, removing linecaster adjustments and retaining the pre-emptive thinning of joints as a salient feature. Italics and Condensed complete this ultimately legible sans series. For as long as he had drawn letters, he had wrestled with the problems posed by any modern rendition of the 15th-century Venetian roman.
Inthree years after the Futura release, Sjoerd Hendrik de Roos at Amsterdam explored alternative character sets to enliven basic Futura forms. The four condensed weights were designed by Tobias Frere-Jones, who found inspiration in the straight-sided geometric fonts from that era.
With its mixture of weights and engraved styles, Niagara offers the typographer unusual opportunities. It was set in a roman design wearing blackletter-like clothes, probably to suggest an origin in Alsace or points to the East.
Unable to forget the design, with its blocky, straight line emphasis, Tobias designed Pilsner, an exercise in straight lines in an angle-centered scheme. Pilsner offers a truly adventurous typographic texture. Attracted by its free-form structure and unique texture, Tobias Frere-Jones revived the original design from handset proofs in and designed a new boldface to accompany it.
In Degrading, each letter flings soot and smut at its stark neighbors until accumulating flecks build up a roaring vibration that can overwhelm the outlines. A powerful exercise by a master of figure—ground relations, Stereo can fool the eye at any size, defining shape and suggesting depth.
Tobias Frere-Jones: the Font Bureau Years
Its playful success brings laughter to the lips of admiring users. Stereo appeared inand was seen by Tobias Frere-Jones, who revived it digitally. About Tobias Tobias Frere-Jones was born in in New York, where he would come to appreciate the elegant and cultured, as well as the derelict and corrupt.