pleasantcry Fonts Free Download

pleasantcry Fonts Free Downloads

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Epika Serif Extended Premium Medium
by: Rostislav Vanek
Update : Sun, 30 Jun 2024 13:12:34 +0800Company : Matyas MachatSize : 211.84 KbpsVersion : 1.000;FEAKit 1.0Trademark : Copyright 2022 by Superior Type. All rights reserved.

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8.6K Sales
Last updated: 30 Jun 2024

PorscheNext-SemiBold
by: Hendrik Weber / Fred Smeijers / Corina Cotorobai / Thomas Thiemich - TYPE TAILORS BVBA
Update : Thu, 30 May 2024 06:41:40 +0800Company : Type Tailors BVBASize : 103.11 KbpsVersion : 1.000Trademark : PORSCHE NEXT is property of Dr. Ing. h.c. F. Porsche AG. PORSCHE NEXT Font Software is distributed on an AS IS BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. Contact Dr. Ing. h.c. F. Porsche AG - Production and Marketing - for obtaining the permissions and limitations governing your use of this Font Software.

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4.9K Sales
Last updated: 30 May 2024

Minimum Waste Italic
by: Jakob Fischer / pizzadudedk
Update : Wed, 27 Sep 2023 13:28:21 +0800Company : Jakob Fischer / pizzadude.dkSize : 212.13 KbpsVersion : 1.000Trademark : Copyright (c) 2020 by Jakob Fischer / pizzadude.dk. All rights reserved.

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3.7K Sales
Last updated: 27 Sep 2023
DINSlabW05-Regular
by: Antonia Cornelius, Albert-Jan Pool
Update : Sun, 18 Feb 2024 00:35:31 +0800Company : Monotype GmbHSize : 438.99 KbpsVersion : 1.00Trademark : Typeface Family Name: FF DIN Slab.Library: FontFont Library.Typeface Designer: Antonia Cornelius, Albert-Jan Pool.Typeface Design Year: 2021.Type Style Category: Slab Serif.Number of Weights: 28.Ever since FF DINs release in 1995, Albert-Jan Pool planned to extend the small family of five weights. One of the obvious choices in the 1990s would be to accompany FF DIN with a so-called monospaced aka typewriter version. Typewriters were already outdated at that time, but most readers were still quite familiar with the look-and-feel of the documents written on such machines. Typewriter faces were commonly associated with all sorts of office communication such as letters, forms to be filled out (not to say bureaucracy), hand-outs (be it commercial or at demonstrations) and press-releases. They breath the atmosphere of topical information that is to be taken seriously. As FF DIN is perceived as neutral and objective, it seemed that FF DIN Mono would be offering features that met the demands of the market at that time. Sketches were made but FF DIN Mono lacked the look-and-feel of most typewriter faces. Due to technical restrictions of the typewriter, typefaces used on such machines differ from typefaces used for printing. Whereas in printing types the widths of the letters follow their natural proportions, their main difference with typewriter faces is that the simple construction of the typewriter requires that the width on which each letter is positioned is identical for all. This typically results in the narrow letters I, i, j and l as well as the figure 1 swimming in white space. On the other hand, it causes the wide letters M, W, m and w to look rather cramped. With FF DIN this requirement could be met easily. The most prominent characteristic of typewriter faces is that they usually have linear serifs with a weight that (almost) matches that of the vertical stems. IBM Courier is a typical representative of that style. Now adding serifs to a Sans is not a big thing as such, but because FF DIN is a sans serif typeface, FF DIN Mono would not have any by nature. Or maybe just a few most sans serif typewriter faces actually do have some: typically, i, j and the other narrow letters mentioned before have serifs. Their task is to fill up the white space, these letters would otherwise be swimming in. Despite all efforts, Albert-Jan Pool decided that FF DIN Mono did not stand out enough to successfully accompany FF DIN, so the project landed in the drawer. The design of additional styles that clearly distinguish themselves from FF DIN, such as FF DIN Round and the development of FF DIN Thin and Extra-Light was favored instead. With hindsight, FF DIN Round and the thin weights enhanced the versatility of the FF DIN family in good manner, but all in all still somewhat restrained. Notably the bolder weights of FF DIN Round showed that it was possible to add clear personality while still keeping the family ties. For the next round it was decided that future extensions should have such qualities. Through the years lettering models presented in DIN 1451 had been adapted for various lettering techniques. The engraving technique used for name plates, identification of devices and machinery, smaller signs and lettering rulers typically shows round or rounded corners this had already led to DIN Round. Larger lettering was frequently executed using stencils and it is obvious that the prominent bridges preventing the counters (islands in lettering-speak) from dropping out can be used as a design feature rather than accepting them as necessary evil. The decision to design DIN Stencil was thus taken quickly and in the course of historical investigations on industrial lettering another obvious option was explored. At the beginning of the 19th century, two new styles were introduced to the world of printing types. Their visual appearance is strikingly different at first sight, but throughout the early decades of that century, they even shared names such as Egyptian. What is discussed here is nowadays clearly distinguishable, not only visually but also by their names: Sans Serif and Slab Serif. According to James Mosley, a most recognized expert on the history of (sans serif) typefaces, it did even take until the 1980s until the term Egyptian started to be replaced by the now common term Slab Serif. Remembering the failed attempt of FF DIN Mono due to its lack of serifs, now, this view on type history reveals the missing piece of the puzzle: Extending the DIN family by an original slab serif design which stands out but fits into the family coherently at once, born by its common history of origin. The newborn FF DIN Slab relies closely on the original FF DIN as Albert-Jan Pool und Antonia Cornelius initially took the sans and added as many serifs as possible. This way, curves, stems and proportions a typefaces DNA of all weights and widths remained the same. But just mounting heavy serifs doesnt lead to a pleasing result. Typeface design always aims for a balance between black and white. Consequently, the additional black of the serifs necessitates adjustments of the white space to restore the rhythm. Therefore, serifs differ in length depending on the kind of stroke which they terminate. Is it a straight stroke with a serif at the top and bottom like an n on the left? Or is there just one serif within the x-height as on the right of the i? Or is there even a curve like the shoulder of a or n which causes more space to the following letter? The recipe: the bigger the white space the shorter the black serif. Thus, we subtly compensate for those differentiating white spaces and regain a steady rhythm. However, the bolder the weight it gets more and more troublesome to accommodate all the heavy serifs somewhere in the shrinking white space. So, how do we get more light back to first handle the serifs and second to match again with the original grey value of the sans? Therefore, horizontal strokes were thinned distinctly in the bolder weights. As this is not sufficient for condensed designs, DIN Slab counters faced trouble with sophisticated design solutions and maxed out the latest font technology for their implementation. The result is a sensitive yet DIN-like sturdy design, which behaves versatilely through the broad design space ranging from thin to black and normal to condensed. If space gets tighter, serifs are shortened, tapered, or even cut off. In this way we are able to focus on the characteristic serifed design without cluttering many letterforms at the expense of legibility. Furthermore, when exploring the width-axis of the variable font, one can observe that the design of terminals (like we have at lowercase letters a, e or g) adapts to the chosen width: Moving onward to condensed, they change from an open to a closed form, which fits better to the more compact look of the condensed style. FF DIN Slab distinctively carries on its mothers DNA, speaks the same native language but with a strong peculiar dialect. It expands the DIN family worthily independent but integrated and opens totally new possibilities of uses with the whole DIN family.

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6.5K Sales
Last updated: 18 Feb 2024
GPN_DIN Condensed Bold
by: ParaType, Ltd
Update : Thu, 30 Nov 2023 05:37:49 +0800Company : ParaType LtdSize : 102.25 KbpsVersion : 1.000GPNTrademark : GPN_DIN Condensed typeface, based on DIN 2014 typeface by ParaType, is made for exclusive use by Gazprom Neft PJSC only. The typeface may only be used in projects relating to Gazprom Neft PJSC. All rights reserved.

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7.1K Sales
Last updated: 30 Nov 2023
Unilever Shilling Medium
by: Monotype Design Studio
Update : Thu, 18 Jan 2024 18:14:16 +0800Company : Monotype GmbHSize : 78.91 KbpsVersion : 1.01Trademark : Copyright 2019 Unilever NV and PLC and its affiliated companies. All rights reserved.

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5.5K Sales
Last updated: 18 Jan 2024
Trip Sans Ultra
by: Colophon Foundry
Update : Sat, 28 Oct 2023 19:24:57 +0800Company : Colophon FoundrySize : 76.3 KbpsVersion : 1.001Trademark : Custom typeface produced for Tripadvisor LLC, designed and manufactured by Colophon Foundry. To be utilised by Tripadvisor LLC and associated partners ONLY on brand projects. You must not modify, adapt, alter, convert, translate or otherwise change the font software without permission from Colophon Foundry.

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3.3K Sales
Last updated: 28 Oct 2023
GH Guardian Headline Light
by: Tim Ripper
Update : Sun, 23 Jun 2024 10:11:10 +0800Company : Commercial Type, Inc.Size : 46.84 KbpsVersion : 2.001;Trademark : GH Guardian Headline is a registered trademark of Commercial Type, Inc.

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2.4K Sales
Last updated: 23 Jun 2024
CANormalLeftW05-Light
by: Stefan Claudius
Update : Sat, 17 Feb 2024 09:09:52 +0800Company : Stefan ClaudiusSize : 104.52 KbpsVersion : 1.00Trademark : Copyright (c) 2009 by stefan claudius. All rights reserved.

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5.1K Sales
Last updated: 17 Feb 2024
FilmotypeHemlock
by: Patrick Griffin
Update : Tue, 19 Dec 2023 00:56:57 +0800Company : Font Diner Inc.Size : 87.29 KbpsVersion : 1.000;com.myfonts.filmotype.filmotype-hemlock.regular.wfkit2.43t6Trademark : Copyright (c) 2013 by Font Diner Inc. All rights reserved. Filmotype Hemlock is a trademark of Font Diner Inc.

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5.9K Sales
Last updated: 19 Dec 2023