Subway New York Std Font !LINK! Free Download

Started by Hannes von Dhren as a young graphic designer with a passion for letters, HvD evolved to an established type foundry working together with clients, agencies and experts. Using the act of creation itself, as our driving force, we have produced a balanced array of playful and professional typefaces, always underpinned by expert execution, including FF Mark, Pluto, Reklame Script or Brandon Grotesque. One principle of HvD is that we want to deliver fonts of the highest quality level: optically AND technically.

In addition to creating self initiated typefaces, we worked on several bespoke type design projects for clients like Lufthansa, Volkswagen, Hyundai or Wal-Mart. Important or not, but good to mention: We received several design awards for our typefaces including the iF Award, the Red Dot Award or the Certificate of Excellence in Type Design from the Type Directors Club NY.

One of my off-and-on hyperfixations for a while has been the architecture and mosaics of NYC subway stations. Ever since I was a kid, I liked looking at the wall mosaics on the subway platforms as I whizzed by on the train, and while I have to give credit to the rapid transit systems in most of the rest of the world for being substantially more modern in almost every way, I'm frequently disappointed to find that few of them have the architectural flair that the NYC subway stations do.

Subway New York Std Font Free Download

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I've found a few good ones based on various subway font stylings. Brandon Sugiyama's font at NYCSubwayFont.com is really good, as are Subway Mosaic and LaFarge. But it's those sans serif ones where I'm having a hard time finding good imitations. Washington Heights JNL is solid but a bit off, same with Name Sans. This Behance post by Studio BBG has a really good take on the Vickers sans serif IND station font, but as far as I know, it's not available for purchase or download (unless I'm wrong).

I've found nothing good on the sans serif font you can find in stations like the old South Ferry loop and Borough Hall, as well as Times Square at one point. Are there any good ones I've missed? Does that Studio BBG font have a download or purchase link?

Toronto Subway[1][2] is a geometric sans-serif typeface designed for the original section of the Toronto Transit Commission's Yonge subway. It is today used at station entrances, fare booths and track level signage throughout the system.[3]

The font was recreated by David Vereschagin in 2004. Because the original designer of the font is unknown, and no documentation of the font had been kept, Vereschagin digitized the font by visiting stations and making rubbings of the letters on the original Vitrolite glass tiles as well as taking photographs.[2] This is now used by the TTC as their font for station names.[2] Vereschagin designed a matching lowercase, inspired by Futura and other similar designs. As one of the few typeface designs to have originated in Canada, it was used in a number of zines as a mark of local pride.[6]

Often misidentified as Gill Sans[by whom?], the Toronto Subway font is based on Futura. Somewhat similar typefaces include Johnston (used by Transport for London), Verlag, Bernhard Gothic, Metro, Brandon Grotesque, Neutraface, and Eagle.

The Monospaced font stays very true to the original tiles with each letter form taking up the same horizontal and vertical space. Also included are directional arrows and superscript ordinals which allow you to replicate most any of the black tile signage of the Vickers era.

The Medium font is a slight variation designed for legibility and balance. Some letterforms are made wider or narrower and rounded letterforms extend slighty above and below the cap height and baseline. While the original tiles had no punctuation, the Medium font includes basic punctuation designed to remain faithful to the hand crafted, yet mechanically precise nature of the IND tiles.

Brandon Sugiyama is an Emmy award-winning, California born, and Brooklyn-based art director and motion graphic designer. Shortly after moving to New York in 2011, he fell in love with the subway tile lettering of his local C line.

The NYC Subway Typeface began as a personal project to bring to life a historic piece of New York city daily life. These fonts and designs are an opportunity to share his love of New York with the community and all who visit the greatest city in the world.

One of the reasons for the long post is that Vignelli, despite his long love affair with Helvetica, did not choose it for the subway system signage. The decision to switch to Helvetica was done by others, long after he had any role in the design.

The font was recreated by David Vereschagin in 2004. Because the original designer of the font is unknown, and no documentation of the font had been kept, Vereschagin digitized the font by visiting stations and making rubbings of the letters on the original Vitrolite glass tiles as well as taking photographs. This is now used by the TTC as their font for station names. Vereschagin designed a matching lowercase, inspired by Futura and other similar designs. As one of the few typeface designs to have originated in Canada, it was used in a number of zines as a mark of local pride.

When it comes to the world of fonts, there are hundreds to play around with but few that stand on top. There are the classics like Times New Roman, Arial and Helvetica. Since its creation in 1957, Helvetica has been widely used as a branding font. American Airlines, American Apparel, the New York City subway system and even your federal tax forms all use the ubiquitous font.

The Graffiti-artist Shik from New York came to show the typical tag style of his respective metropolitan area. Subway New York consists of 4 alphabets (Uppercase, Lowercase, Small Caps & Swash). They also include ligatures and some specials like underlines and a huge range of accents for a wide language support. With the OpenType technology these features can be applied easily. This package also includes the font Subway Extras, they contain splatters, underlines, drips and more.

It probably isn't an actual "font" that would be standard with your computer or used as a publication's typeface. I doubt there's even much documented about what was used back then. I'm sure you could a font that resembles it closely if you were making a reproduction ... but I doubt you could ever find the exact one. I could be wrong, though.

However, Transign, which made rollsigns for subway cars beginning with the R32 / R32A order of 1964-65, called their type family "Transign Standard" (per a 1984 Transign manual). There were, from what I could see, five (or six) "widths" of that font - extended, expanded, regular, condensed and extra condensed - although if they got real small, the extended version was replaced with Venus Bold Extended (as seen on so many '8th's, for example, on 25" wide rollsigns mentioning the lettered routes). I am much fonder of Transign's font family than, say, Hunter's or Teleweld's or Trans-Lite's. A shame there hasn't been an attempt to replicate those typefaces digitally, the way there has with, say, Group W's typesetting as used for their TV and radio stations starting in 1963. (There is a computer-type version of the Standard Medium typeface used for years starting in the late 1960's with the Vignelli coloring scheme - it's called AG Old Face Bold.)

Hello,I'm thinking of using Openstreetmap on a Real Estate site in Russia, instead of Yandex Maps. But the current metro (subway) symbols would not fly here. Link shows how Russians are used to seeing metro stations on a map. =wizbiz_new_map_single&ll=37.603441%2C55.765236&z=17

Basically, bigger font. Symbol "M" in a circle and he circle has a set color depending on the line. The circle can be white, color is not necessary, just pretty cool. Look at what Google did for Moscow.

Although maps had depicted the unified system since 1940, the first cohesive effort to standardize the wayfinding and informational signage NYCTA inherited from numerous predecessor agencies began in 1966. The authority hired Unimark International, who devised a set of standards for station signage as well as the way information was imparted to customers. One of the most important aspects of this new direction was reimagining the subway map.

After unification in 1940, the subway system was filled with layers of informational signage from various time periods and transit companies. Platform to mezzanine staircases, such as this one, were especially crowded.

Webfonts can be used on a single domain. Agencies responsible for multiple websites, for example web design agencies or hosting providers, may not share a single webfont license across multiple websites.

Every time the webpage using the webfont kit is loaded (i.e, the webfont kit CSS which holds the @font-face rule is called) the counting system counts a single pageview for each webfont within the webfont kit.

This idea of community spirit is reflected in the logo's use of the collective pronoun "we" instead of the singular "I", while its new font references the Helvetica signage of New York's subway system, which Clifford described as "the beating heart of the city".

As the commissioner at the time was excited about Legible London, the PentaCityGroup team began by studying that and similar wayfinding systems. However, a concious decision was made not to be too influenced, and it was the New York subway, originally designed by Bob Noorda and Massimo Vignelli of Unimark International in 1970, which was the chosen starting point.

Being able to set type oneself on a computer is a huge advancement over having to order type from a type house, then paste it down on a board and, if it is wrong in any way, repeat the process. And at the end, you paid for the words you set, not for a font. And thus, you had to do the whole thing over again for the next client, the next project. Today, type is cheap and plentiful. And immediate.

My photographs of lettering in New York fed the imagery in the book, but the real spark came from two events: seeing the Helvetica movie by Gary Hustwit in 2007 and then a few weeks later listening to Massimo Vignelli and Wim Crouwel at an AIGA NY dialogue moderated by Alice Twemlow. In the movie and in the dialogue it was implied-though they did not say outright-that Helvetica was the typeface of the subway signage because Vignelli chose it decades ago. I knew this was not true and I set out to find what had happened. 17dc91bb1f