Free Download Clash Display Font Family

Clash Display is a free font-family designed by Indian Type Foundry. It is basically a Grotesk font, which performs best when the font-size is set to high values. This makes it ideal for headlines, titles, graphics, poster designs, magazines, banners, and much more. It is also well-suited for use in web interfaces.

Have you ever wondered what is the difference between font and typeface? Well, a typeface is the overall set or family of font styles (like Open Sans, Roboto, Helvetica), while a font is a particular style or variation within that typeface (like Regular, Light, Italic, Bold, SemiBold).

Download Clash Display Font Family

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Within the developer tools, navigate to the CSS Styles panel, which reveals the applied CSS rules for the selected element. Look for the "font-family" property, which specifies the font used. The font name will typically be listed after this property, enclosed in quotation marks. Pay attention to any additional font properties, such as size, weight, or style, as they provide valuable information for replicating the font elsewhere.

In some cases, you may also come across URLs associated with the "font-family" property, indicating the use of custom web fonts. Copying and visiting these URLs allows you to explore more about the font or even download it for future use.

WhatFont (Browser Extension): WhatFont is an add-on for Chrome and Safari that has gained a lot of popularity. The extension is activated by clicking its icon in the browser's toolbar once it has been installed. Once installed, WhatFont can be used to identify the font family, size, line height, and color of any text on a webpage simply by hovering over it. It also includes other data like the CSS stack for the font family and the web fonts' URL. Without inspecting the page's code, determining what typefaces are in use is a breeze with WhatFont.

Fount: Fount is a web app for determining the typefaces used in any given website. The Fount bookmarklet can be added to your browser's bookmarks bar by visiting the Fount website. Simply click the Fount bookmarklet whenever you see a typeface on a website that you'd like to learn more about. The font family, size, weight, and style can all be seen in a tiny pop-up window that appears when you click on the text element you're interested in using Fount with.

Define the Font Family and Properties: In the Text Style editor, you can set the font family, font weight, font size, line height, letter spacing, and other properties. To use your own font, select the desired font family from the dropdown menu. If your font is not available in the Figma font list, click on the "More fonts" option at the bottom to upload and use your custom font.

Bebas Neue is a bold and impactful display font designed by Ryoichi Tsunekawa. Its strong geometric shapes and condensed letterforms create a distinctive and powerful aesthetic. Ideal for headlines, posters, and branding projects, Bebas Neue demands attention with its modern and edgy style, adding a touch of dynamism to any design.

With its robust and geometric letterforms, the sans-serif font Oswald grabs attention. Oswald, a font designed by Vernon Adams, emanates power and modernism, making it perfect for headlines, logos, and display graphics. With its own personality and adaptability, Oswald gives any project a dash of modern flair and aesthetic impact.

Lobster, a distinctive and playful script font, captures attention with its lively and hand-drawn letterforms. Created by Pablo Impallari, Lobster adds a touch of whimsy and creativity to branding, packaging, and display designs. With its bold strokes and charming character, Lobster brings a sense of fun and uniqueness to any project.

With its high contrast and geometric letterforms, Anton, a strong and eye-catching sans-serif typeface, produces a powerful impression. The attention-grabbing font Anton, created by Vernon Adams, is ideal for headlines, logos, and display projects that demand a strong visual presence. Any project benefits from the boldness and modernism that Anton brings with its angular edges and powerful appearance.

Presenting Satoshi, a sleek and futuristic display font that captures the essence of modern design. Crafted with meticulous precision, Satoshi showcases clean lines and geometric forms that exude a sense of technological sophistication. With its sharp edges and contemporary style, Satoshi is perfect for branding, tech-related projects, and designs that seek to make a bold statement.

Clash Grotesk Display, a sans-serif font family designed for large sizes, boasts a neo-grotesk style with a unique twist. Its letterforms feature small 'apertures,' creating a distinctive look with almost closed counters. Eye-catching yet balanced, Clash Grotesk Display suits corporate branding and excites editorial designers. It has a companion font, Clash Grotesk, for smaller text, with optically monolinear strokes and proportional lining figures. The fonts' tall x-height, ascenders, and contrasting stroke connections make Clash Grotesk Display's appearance striking, with a double-story 'a' and single-story 'g.'

Bespoke Serif, a versatile serif font family crafted for optimal legibility in text sizes, is designed for effortless reading. Its wedge-shaped serifs and open counter forms enhance clarity. As part of the Bespoke superfamily, which includes Bespoke Sans and Bespoke Sans Stencil, this font series excels in branding, corporate communication, and editorial design. It is a collaborative effort by Jeremie Hornus, Theo Guillard, Morgane Pambrun, Alisa Nowak, and Joachim Vu.

Teko, an open-source typeface by Indian Type Foundry, is designed for impactful headlines and display-sized text. With low stroke contrast and square proportions, its visually simple structure is versatile in both screen and print. The Regular, Medium, and Semibold fonts suit long headlines, while Bold emphasizes shorter phrases. Teko's Light variant shines in large headlines, making it an excellent choice for advertising and news tickers.

Supreme, a constructed-style sans-serif font family, pays homage to engineers with its straight-sided letters and monolinear strokes. Ranging from Extralight to Extrabold, Supreme's moderate x-height and prominent ascenders/descenders make it stand out. Originally used in engineering and tech branding, it now finds popularity for on-screen text. Ideal for body copy in print or on screen, Supreme's weights excel at larger sizes. It was designed by Jeremie Hornus and Ilya Naumoff.

Styro, a modernist-style stencil font family, offers eight weights from Thin to Black. Its virtually monospaced design features condensed characters with thin lines as counterforms. With geometric stroke terminals, Styro captures a reductionist aesthetic. Developed by Aarya Purohit at Indian Type Foundry, it's an excellent choice for editorial design on modern art.

Ferrum, a bold and powerful display font, commands attention with its strong and impactful letterforms. Inspired by industrial aesthetics, Ferrum evokes strength and resilience. Perfect for headlines, logos, and branding materials, this font adds a robust and authoritative touch, making a lasting impression.

The contemporary sans-serif font called Rubik perfectly balances friendliness and geometric accuracy. Rubik has outstanding readability and adaptability across a range of design projects because of its clear and basic style. Due to its distinctive character, this typeface is a great option for branding, interfaces, and display typography.

Outfit is the official typeface of brand automation business Outfit.io. It is a geometric sans-serif font. Outfit.io proudly introduces its own font family, which was inspired by the ligature-heavy outfit wordmark. This typeface automatically provides on-brand communication due to its seamless relationship to the Outfit writing voice and product marks.

Manrope, an open-source sans-serif modern free font family, was created by Mikhail Sharanda in 2018. In collaboration with Mirko Velimirovic in 2019, it was transformed into a variable font, offering enhanced flexibility and adaptability. With its clean and contemporary design, Manrope is a versatile choice for UI projects.

Raleway, an elegant sans-serif typeface family, offers a range of weights and styles. Designed by Matt McInerney, it was expanded by Pablo Impallari and Rodrigo Fuenzalida. With versatile features like numerals, ligatures, and alternate characters, Raleway is a refined choice for displays. It also has a dotted variation called Raleway Dots.

The key to this visually pleasing trend is the use of big-personality typography, which adds rhythm and contrast to compositions. Serifs and display fonts dominate, while mixing typefaces is a fundamental practice for generating stunning designs where typefaces with very different qualities, weights and styles work together in perfect harmony, to create a very strong visual impact.

In this new collection of Fonts, you will mainly find fonts that are free to use, some are for non-commercial use only, and some have a free version available. To see some of our favorite examples, have a look at our collection of Free Fonts which displays a wide variety of free typefaces.

The Verdana typeface family consists of four TrueType fonts created specifically to address the challenges of on-screen display. Designed by world renowned type designer Matthew Carter, and hand-hinted by leading hinting expert, Agfa Monotype's Tom Rickner, these sans serif fonts are unique examples of type design for the computer screen. The Verdana family resembles humanist sans serifs such as Frutiger, and Edward Johnston's typeface for the London Underground, and Carter himself claims to see the influence of his own Bell Centennial in the face. But to label Verdana a humanist face is to ignore the fact that this family isn't merely a revival of classical elegance; this is type designed for the medium of screen. The Verdana fonts exhibit characteristics derived from the pixel rather than the pen, the brush or the chisel. The relationship between straight, curved and diagonal strokes has been painstakingly developed to ensure that the pixel patterns at small sizes are pleasing, clear and legible. Commonly confused characters, such as the lowercase i j l, the uppercase I J L and the numeral 1 have been carefully drawn for maximum distinctiveness - an important characteristic of fonts designed for on-screen use. And the various weights in the typeface family have been designed to create sufficient contrast from one another ensuring, for example, that the bold font is heavy enough even at sizes as small as 8 ppem. The generous width and spacing of Verdana's characters is key to the legibility of these fonts on the screen. The limited number of pixels available at low resolutions means that tightly set characters can easily clash; turning an r n into an m, or creating distracting black patches in a word. In on-screen typography, it's important to keep the characters distinct from one another, and research has shown that wider letterspacing significantly aids reading from the screen. The Verdana typeface family was first made available on July 8, 1996. The family is continually being extended to support multilingual needs. Despite the quality of the Verdana font family at small sizes it is at higher resolutions that the fonts are best appreciated. Some of the subtleties of the letterforms, such as the slightly modulated stroke weight only become truly apparent at larger sizes. In the words of Tom Rickner, "My hope now is that these faces will be enjoyed beyond just the computer screen. Although the screen size bitmaps were the most crucial in the production of these fonts [their] uses should not be limited to on screen typography."

Verdana version historyVersion 2.35 - This version of Verdana includes some minor table updates, but no new glyphs. Version 2.31 - Verdana version 2.31 extends the WGL4 version 2.00 to include the euro currency symbol and Vietnamese language support. Version 2.10 - This WGL4 (no euro) version of Verdana was added to our Core fonts for the Web on 30 September 1997. It was also supplied with Microsoft Internet Explorer 4.0 which launched on this date. Internet Explorer 3.0 came with Verdana version 1.01. Version 1.01 - Verdana version 1.01 was added to our Core fonts for the Web on 8 July 1996. It was also supplied with Microsoft Internet Explorer 3.0 released on 13 August 1996. ff782bc1db