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Fathan Font is an elegant and refined typeface that exudes a timeless sophistication. With its meticulously crafted letterforms, this font embodies a perfect balance between classic charm and contemporary design.

Black Rider Font is a supercharged street brush font full of energy. With extra attention to quick strokes and sharp detail, Black Rider is guaranteed to deliver a very loud & fast message; ideal for logos, clothing, quotes, product packaging, movie titles, book covers or anything else that needs a typography turbo-boost.

Thank you for looking this font. This is a chunky bold typeface, the geometric, tempered by softened edges and vibrant shapes. Perfect for any fun quirky design work! Introducing Hanson Bold Font! HANSON BOLD Is the latest font from Hanson Method. Works well for bold strong brand identities

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PTG Sexopunk Font looks great when combined with solid character fonts. For branding projects, logos, wedding designs, social media posts, advertisements, product packaging, product designs, labels, photography, watermarks,

Cubex Font is a Bold, modern, and square font is a typographic style that exudes confidence and contemporary flair. With its clean lines and strong presence, this font captivates the eye and demands attention.

You might want to adapt this to include some of the variants relevant to you (basically everything that starts with a ! are exceptions to the general exclusion rule). You can use the file generated at step 0.5 to check out which font variants you want to keep.

The line above just leaves you with 10% of the original list of Noto fonts

I already tried to remove some of these noto fonts some time ago. There indeed are some more dependencies if I remember correctly. I guess they can not just be removed walking by. For me the possible gain was not worth investing the time.

It most likely will depend on what programs and packages you have installed.

Actually I just removed all the Noto fonts on Plasma as well (just the package without touching the deps). Nothing seems to be broken as far as I can tell so far. Maybe it would differ on a fresh install and setting system fonts to something different than Noto is probably required (Plasma seems to use them by default).

Choosing and using the right brand fonts is a detail that separates design amateurs from the pros. When used well, fonts have the power to communicate your brand personality and build trust and awareness with your target audience.

In the examples above, I chose Black (skipping a few levels up from Regular) and Thin (skipping a few levels below Regular). You can see depending on which way you skip (up/bolder or down/lighter) these fonts give off a completely different vibe to choose from depending on your brand personality.

Take it a bit further, and you can drastically change the look of a font based on other characteristics. In fact, everyone does this all the time. We change font sizes based on the information we want people to read first.

Similar to sizing, all fonts come in different shapes and sizes. Some fonts are wider, while others lean on the more narrow size. Generally, the wider fonts are more geometric and take up more space, not just on a line but within each letter.

Think of weights on a scale. Just the thickness of a font can completely change the look. A bit bolder adds a bit more personality, and light weights are more modern and airy. Just like the saying, opposites attract!

A creative jack of all trades, Kelsey Woodbridge from Bold Web Design brings tasteful wit to each article she writes. With experience in the world of design, she understands the struggles of choosing fine details, like fonts, that put the cherry on top.

Though classified as a sans-serif, Optima has a subtle swelling at the terminals suggesting a glyphic serif. Optima was inspired by classical Roman capitals and the stonecarving on Renaissance-period tombstones Zapf saw in Florence on a 1950 holiday to Italy.[1]

In his book About Alphabets, Zapf commented that his key aim in designing Optima's capitals, inspired by the Roman capital model, was the desire to avoid the monotony of all capital letters having a roughly square footprint, as he felt was true of some early sans-serif designs. Like the Roman capitals, Optima's 'E' and 'R' occupy about a half-square, the 'M' is wide and its sides are splayed.[6]

Optima is an example of a modulated-stroke sans-serif, a design type where the strokes are variable in width. The design style has been intermittently favored since the late nineteenth century; Optima is one of the most lasting examples of the genre. Optima was originally targeted by Stempel's Walter Cunz as a competitor to Ludwig & Mayer's Colonia design, which has not been digitised.[8][9] Shaw also suggests the little-known 1948 design Romann Antiqua, as well as Stellar by Robert Hunter Middleton as predecessors, and notes the existence of Pascal by Jos Mendoza y Almeida (1962) as a design with a similar set of influences.[2][10][11][12][13] Optima is however quite restrained in stroke width variation; more display-oriented predecessors such as Britannic show far more differentiation in stroke width than Optima does.

"Optima nova" is a redesign of the original font family, designed by Hermann Zapf and Linotype GmbH type director Akira Kobayashi.[15][16] The new family contains seven font weights, adding light, demi, and heavy font weights, but removing extra black weight. Medium weight is readjusted to between medium and bold weights in the old family scale. Glyph sets are expanded to include Adobe CE and Latin Extended characters, with light to bold weight fonts supporting proportional lining figures, old style figures, and small caps.

The initial and most common release of Optima, like many sans-serif fonts, has an oblique style instead of an italic: the shapes are merely tilted to the right. In Optima nova, this is replaced by a true italic. (In interviews, Zapf has said that this was his original goal from the beginning, but the need to release Optima quickly forced him to settle for an oblique.)

In April 2010, Linotype announced the release of Cyrillic version of the original Optima family, in OpenType Pro font formats. Released fonts include Optima Pro Cyrillic Roman, Oblique, Bold, Bold Oblique.[17]

As with many commonly used fonts, knockoff designs and re-releases under different names have been released, some created by Zapf himself. These all tend to copy the original version, rather than the Optima nova design which represents Zapf's final thoughts on the design. In the Bitstream font collection, Zapf Humanist 601 is provided as an Optima clone. Other Optima clones include Optane from the WSI Fonts collection, Opulent by Rubicon Computer Labs Inc., Ottawa from Corel, CG Omega and Eterna. Freely available implementations include URW Classico (available with URW Font package from Ghostscript). Linux Biolinum and Libertinus Sans are libre fonts inspired by it. Zapf's Palatino Sans is a more informal typeface in the same style, with a design reminiscent of brushstrokes or calligraphy.

Optima was chosen as the font to be used for the names of those who lost their lives in the September 11 attacks, carved into bronze parapets, at the National September 11 Memorial & Museum, which is named "Reflecting Absence".[20]. More recently, was used by U.S. politician John McCain's 2008 presidential campaign.[21]

Anyway, I went hunting for some really nice Japanese fonts, and I found two: IPAMincho for serif, Source Han Sans JP for sans-serif. It was easy enough to force them to be preferred; I just stuck them below my preferred Western fonts.

Another warning: while Firefox picks up fontconfig changes more or less instantly (after an fc-cache), Chromium does not. Worse, Chromium seems to outright ignore fontconfig when it feels like it, such as when it used a sans serif Japanese font for text styled as serif.

pango-view is a tiny program that just pops open a window containing some text in a particular font. FC_DEBUG is an environment variable to make fontconfig spit out mountains of fucking text on stdout. The grep cuts it down to something a little more manageable. Most likely the last family you see listed is the font actually being used to render your favorite glyph.

Thank you, this was interesting. I wondered if you might want to post on fonts for specialist purposes like education or other areas. For example, there is a free font called Atkinson Hyperlegible available from the Braille Institute created specifically for easy reading by those with poor eyesight.

You cannot just preconnect and/or preload, you still need to load as usual.Then you just specify any font weight that is not the default for that given font by using :wght@700, for example. Between successive fonts you put the pipe | sign.

Meedori Sans a free geometric display typeface composed only of capital letters. The difference between capital and lowercase letters is in the cuts and diagonals inspired by the corporate brand. It is thus easy to combine them with each other to obtain an original combination of uniform characters. Inspiration. Meedori Sans endeavors to create a modern impression. It is inspired by the font Futura by Paul Renner, designed in 1937. Meedori sans has been designed in three different weights: Light, Roman and Bold. e24fc04721