#i chose the smaller font because your message was so large

[awesomefringey]

I may be naive but I do not see why everyone is so upset with Liam. Sure, everyone has the right to their opinion, but I also think that many choose to misinterpret what he says.

To me it sounds more like Liam is trying to defend Zayn. Maybe he should have chosen his words a bit more carefully but I don’t think he goes into detail regarding Zayn's childhood. He rather contributes with perspectives on why different people have different behaviors. And he is trying to give people a reason to forgive or understand Zayn. Even if that’s not Liams place, I do not think he did it out of spite. 

He says he doesn’t agree with everything that Zayn has done, but he will still always be there for him. I think that is completely reasonable. If my friends act wrongly, I do not have to accept it just because they are my friends. I will, however, accept the human factor, that we make mistakes. I definitely do not always do things that I am proud of and I do not want my friends to accept bad behavior from me. But I want them to believe in my ability to reflect and change and to support me on that journey. 

I think a lot of people think that Liam badmouthed Zayn just because he hinted at the accusations against him. But we do not need to continue to normalize a culture of silence around vi*lence. Regardless of what is true or not in the accusations against Zayn, one is allowed to say that a vi*lent or threatening behavior is not okay. That doesn’t mean we think that Zayn is a bad person.

Like I said maybe I’m naive or maybe I just misunderstood the whole thing. I know Liam said a bunch of other stuff too but this message is already long enough. I'm just upset about how mean people are.

Ok nonnie, there’s a lot to unpack here.

I’ve watched the entire podcast myself and I’m of course open to the idea that I’ve misunderstood what Liam said. But I’m not actively choosing so nor am I oblivious to the fact that my perceptions will always be impacted by my experiences and triggers. Thus all of us having different interpretations, but that doesn't mean it's malice. In this case the majority felt Liam shouldn't have said what he said about Zayn (and a lot of other things). Also Zayn's cousin was angry about it which leads me to believe that if Liam was misunderstood, he was also misunderstood by Zayn.

To me, Liam used Zayn's weakest moment (unsolicited! on a podcast!) to brag about his intimate knowledge of Zayn's background, turning it into a display of his empathy and implying he's been offering help over and over again (as if it wasn't Liam's mental health that's constantly being questioned in his fanbase but here we are now).

I don't see bad intend or spite. I even think this wasn't about Zayn as a person, at all. Zayn was just a vehicle for Liam to tell a story about himself. And while that's absolutely fair to do so, Liam did proactively choose a very very sensitive topic out of Zayn's life, to impulsively mock Zayn at first to then backtrack in a weird way of making sure we knew yes, Liam thought Zayn's indeed a d*ck, but also Liam is so understanding and super compassionate about it because he knows there are reasons. And that has nothing to do with speaking up against violence or calling out a friend. It's invasive and it's framing a narrative when Zayn himself asked for privacy to protect his family and his daughter.

What you describe and experience within your friendships is wonderful yet it's something that happens with a sense of privacy. You would feel different if your friends used your lowest moment - that was possibly misconstrued in the press and you had chosen not to fight and set the record straight in favour of finding peace - in an interview and reminding the world that it happened while you've probably long made amends in the meantime and are already in a better place...

Don't judge your perception as naive or other's as choosing a false interpretation. All is valid. We can always agree to disagree. And I can tell you're coming from a place of love for Liam there, and it's totally fair to point out how you feel about Liam's intentions.

PS: What a timing, Liam just tries to amend things there himself.

#ask #liam payne #i chose the smaller font because your message was so large #i hope you still like to read it #lol

[rayne-storm]

AUgust 6 - Gaming

Title: MOON QUEEN

Fandom: Hyperdrive

As always, Hyperdrive belongs to my beautiful and talented BFF @rad-infiniitum / @starburnedfarrago

This was just super fun to write, and although the logistics as presented are just absolutely whack, I hope you enjoy!!

She smiled as she hit the buttons with routine familiarity, starting her stream. She smiled gently as she addressed her followers and her little intro video played.

There was her channel name: STELLA-PY , and the letters rearranged themselves to some bubbly synth music to: LETS-PLAY and faded out to reveal the title card for the game that she was tackling today.

"Good afternoon, guys! It's me, Stella-Py!"

"Py" in this case was pronounced "Pie," and the comments she had received about the similarity mixed with her heavier frame were old news long ago. She kept herself in a small frame at the corner of the video, just because she knew she tended to make silly faces playing spookier games, and if anyone really got a sense of her size from that, she applauded their eye for detail. Any hate got pretty quickly removed from the chat thanks to a friend who maintained it, and her lovely (if few) fans.

"Today, we're doing something new and short, while I recover from the awful, awful fetus monster. This is one you guys have been telling me to try!"

She pulled up the application on her computer, and a solid wall of blue illuminated her screen. From the wall, white letters in a vintage font appeared one by one to reveal:

"QUEST FOR THE MOON QUEEN"

Stella smiled and let the elegant chiptunes that came after the letter play for a moment before starting to speak again.

"That's right, folks! Quest For The Moon Queen was published seven years ago to itch.io by an anonymous, indie developer that only called themself 'BL00 SCR33N.' It's remained relatively obscure since then, which is a shame because it looks so cute! From what I've seen, this is an adventure game where the player is this adorable little knight, trying to rescue and woo the titular Moon Queen. I'm super excited to get into it, and please make sure to put asterisks before any spoilers to hide them!"

She paused to let the chat catch up, answering a couple of questions about her day, how the baby cow was doing, and when she would do a baby cow reveal (the poll for the baby cow name was still going, Moomin being the leader by far). The chat satisfied, she hit ENTER on her keyboard, and the screen slowly darkened.

First came a little tutorial.

There was a little blue knight in front of a white screen, and little floating text walked the player through the various movements they could do. It was relatively simple, arrow keys to move, space to jump, and a couple of keys or mouse clicks to shoot a little spark.

After the tutorial came an adorable side-scrolling adventure where the little blue knight jumped over hurdles and shot sparks at bees and little black boomerang-like shapes.

Three levels of slightly increasing difficulty later, there was a boss fight.

The boss was labeled "THE DICTATOR" and a chiptune-version of ABBA's "Voulez-Vous?" played. The knight grew a little taller, and was faced suddenly by a giant black tarantula with a hundred glowing red eyes.

The sparks were ineffective, and Stella began to panic when she noticed a small sword icon. Interacting with that froze the boss and brought up an option screen:

"CHOOSE YOUR WEAPON"

MY STRENGTH

MY SPIRIT

Well, wasn't that unique?? Stella immediately chose to fight with "SPIRIT" and the scene dissolved into a cute little cutscene.

The little knight stood before THE DICTATOR, trembling only slightly in the presence of the fierce enemy.

"I must go!" The knight proclaimed in chiming little chirps

"But why?? You have served me loyally all this time!"

"I must find my own path, and you must care for your fallen kingdom."

The scene dissolved again, and the spider rolled over, defeated.

Stella felt there was more to the story, but could only really comment on how sweet that was.

"This is such a cute little game! You guys are the best, and if anyone has any idea how to get in contact with the person who developed this, please let them know that I love it so much!!"

The next levels were water-themed (of course), leading up to a new boss fight:

THE EXILE.

This boss was a massive squid, with pink tendrils that acted as hair. The blue Knight's sparks again were ineffective, and again Stella was presented a choice:

THE EXILE HAS REPLACED YOU. CHOOSE YOUR REACTION:

COMPASSION

CRUELTY

Stella again went for the softer route, and again, the screen dissolved.

Surprisingly, the squid-like creature shrunk to being smaller even than the Blue Knight.

"I am afraid, Knight."

"Why are you afraid? You have everything you could ever want, now."

"Because I am so small, and this world is so big."

The knight knelt and gently hugged the little creature.

"Take heart, EXILE, for there are many large things, but there is only one of you. Develop your skills, grow your talents, and the world will bend for you."

The EXILE bobbed happily, nodding.

"Thank you Knight! Good luck on your journey!!"

The EXILE swam away, and the Knight progressed.

So it went, with such bosses as:

THE CORINTHIAN, an eagle dressed like a glam-rocker, who the Knight could either PLUCK or APPLAUD. Applause led to the Knight clapping and giving the creature a CD to sing along to.

a giant troll THE BEAST that offered a stealth option to SNEAK around or SLAY.

THE PRETENDER, a shadowy silhouette of a woman, and the Knight could choose KILL or KINDNESS. Kindness led to the Knight patting the shadow on the back, and with each little pat more of the sprite filled in until the shadow became a dark-skinned woman in a space suit.

Finally, about two hours of play later, the knight was jumping on clouds and was faced with the final boss:

THE DEMON.

This boss was a massive metal insectoid, and Stella waited for the choice to appear, but a minute of waiting led to her health being knocked down halfway, and a message popping up:

NOT EVERY BATTLE HAS A SOLUTION. DRAW YOUR SWORD AND FIGHT.

That felt… wrong.

The chat was exploding to fight back as the monster hit the Knight, but she just couldn't.

Tears in her eyes, she removed her hands from the keyboard.

The health bar was knocked down to zero.

NOT EVERY BATTLE CAN BE WON the screen proclaimed, as it began to fade.

Suddenly, a shower of pink and green lights fluttered down.

The chat began to go crazy. This, it seemed, had never been discovered before. Everyone always fought the monster, and gained a trite little victory screen, the little Blue Knight doing a little dance.

This was something completely new.

NOT EVERY BATTLE CAN BE WON.

BUT SOMETIMES LOSING YOURSELF ALLOWS ANOTHER TO LIVE.

The metal shell of the boss began to melt, and out floated a beautiful woman, pale-skinned with pink and green hair, and nearly translucent green wings that shimmered and glowed.

She floated down to the body of the little fallen Knight and kissed his head. The knight slowly stood.

"Thank you, Blue Knight, for your compassion. Thank you for setting me free. You do not have to hide yourself any longer."

The armor melted away from the knight, and an adorable little creature with blue skin, long ears, and yellow eyes remained.

The descriptions of the characters changed. The Blue Knight became THE REGRETFUL SOUL, and what once was THE DEMON became…

THE MOON QUEEN.

"Thank you, my lady," the REGRETFUL SOUL chirped, and they took each other's hands.

The MOON QUEEN scooped up the little creature, and began to fly up the screen with him. As they reached the top, they turned and faced the screen.

THANK YOU, PLAYER, FOR ABSOLVING OUR GUILT AND SETTING US FREE.

The screen faded to black, and Stella initially thought it had completely ended. She was about to exit out of the program (still sobbing), when a little message slowly flowed up from the bottom:

TO LUNA.

I LOVE YOU.

I LOVE YOU.

I LOVE YOU.

-NEIL

Stella couldn't help crying harder, and blubbered out her closing spiel. The chat still kept going absolutely crazy, some claiming that this was a hacked copy of the game, or that they totally knew about the secret ending. Suddenly a new kind of message began exploding:

The game was gone.

It wasn't on itch.io, or any other site that the chat could find.

What in the world…?

Stella figured that she would deal with the implications of that later, saying goodbye and logging out of her stream.

She gave herself a few more minutes to cry before she heard the soft ping of a new email.

She sighed and opened it, ready to be assaulted by some kind of anger (per usual when she streamed), and was surprised to see the sender was going by "BL00 SCR33N."

She opened the message, and it simply read:

"You saved the knight and the Moon Queen. Congratulations. Want to meet up?"

After that was a phone number.

This was a terrible idea.

She called.

#au gust 2021 #rayne writes #my writing #fanfic #Hyperdrive

[kythesz]

All roads lead to Rome,

………or so I’ve heard.  Even the tracks used for railroad trains here in the USA are based off a common standard road design set way back in Roman Empire .

So it should probably be no surprise that my Roman Wine transitioned into a temporary interest in other things Roman.  Case in Point:  Over the years I’ve been collecting a large pile of various tiles in my shed which were used as a spring time side project.   I’ve done a rather amateurish job of decorating the back  steps of my deck with a new picture every year:

the design lasts most of the summer and fall, then winter destroys it and spring brings another design.  Up until last August it was a temporary amusement.  After my Roman Wine scored so well at Pennsic, I decided to take a short break from brewing and concentrate on some of my house issues.  Something was nagging at the back of my brain.  Ooooh! The Tile saw I got for Father’s Day was suddenly in need of attention.

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It started to become quite the obsession over the Fall and Winter.  Every day early in the morning and during lunch I’d run downstairs to slice the tiles into lengths and then used the nippers to chop them into the tiles (Tesserae)(1). The Romans would use whatever aggregate was available locally.  Most of the time this was granite but hardened clay, various other stones, glass and precious gems were used in creating the patterns and designs wanted by wealthy house owners for their lavish parties.

To shape these stones to the proper size, Mosaic Floor Masons would have slaves and apprentices shaping the stones using a special Mosaic Hammer with a Hardie (metal spike mounted in a block of wood)(2).

The worker would break the materials down into small enough pieces using hammers and saws, then refine the shape and size using the hammer and hardie.  The trick was that the tesserae were created by cutting the flat surface in half and half again until the proper size was met.  These sizes varied depending on the complexity and the size of the mosaic design.  Tiles could be as big as 4×4 inches in elaborate designs weaving colors together,  or as small as a single dot (°) to get the kind of details which show depth and contour (3) on the characters.

As I was trying to do this on the cheap and these would be my first two pieces, I felt it was probably in my best interest to keep it fairly simple.  As such, I chose two designs that would be easier to create using the tiles from the shed:

First was a Mosaic with a Peacock and Flowers 3rd–4th century Roman or Byzantine made in North Africa (approximately).

Many of the colors were already available to me except for the white background which I chose to replace with an electric blue color instead.  I felt the bird would stand out more and where my tiles would look newer, the design would not be considered a forgery.

The technique used for this would be the “Forward Facing” method where a surface was created like a subfloor of stone upon which a layer of mortar was laid and the tiles would be applied to the surface before the mortar set.  Any sections that weren’t complete would have to be scraped away due to the fact that the mason couldn’t guarantee the mortar mix would be the same.

The second piece I would do would be a much smaller piece and would be done using what is called “The Reverse” or “Blind” Method.

The Burnt Church in Hippos depicts a small bird as part of the floor pattern.  “Reverse or Blind”  technique later used by the Romans in the Hellenistic Age (4).  This process was used to help make flat surfaces more even.  Mosaic patterns would be done upside down so the facing of the tile/tesserae would be flush with the surface, and the mortar/grout would fill in from the backside creating a surface that was even and could be leveled by the addition of more or less mortar between the mosaic plate and the sub-flooring.  This technique can be seen used in modern mosaic plating today.

The third method is the “Double Reverse/ Double Blind/ Ravenna Technique” (5) which we are not using here.

So back to our project.  Now that I’ve chosen my originals, it was time to start working with the tiles.  I wanted this to be transportable so it was quickly decided that using a piece of birch plywood would be the best option as a backer for the artwork.  Thin and strong enough to support the tiles and grout but still light enough to transport.

It was brought to my attention that a skim layer or “thin coat” of mortar on the board would better secure the tiles to the board.  So I did a little experiment.  I took a scrap piece of the plywood and then cleared a spot where I left one part without the thin coat and the other with a thin coat applied.  Then I adhered a tile to each spot with a bit of mortar and let it set overnight.

As you can imagine, the tile without the thin-coat layer under it was torn off the plywood with very little effort.  The thin-coat layer mounted tile took a bit of effort to remove.  Unfortunately this experiment didn’t seem to kick in when i was working my first part of the project.

Tiles assembled, I started the design of the Peacock mostly by comparison of the original picture and counting the number of tiles used in each section of the bird until I got my final design:

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After the initial design was laid out, I went back through and tweaked the picture so that it would be a bit thinner.  For some reason my peacock looked more like a Thanksgiving Turkey, but removing a couple lines of tile thinned it right back out again and I went through and applied mortar to the back of each tile “buttering” the tiles, gluing it to the board (This is why the thin-coat option didn’t happen).  The design was completed and a layer of thin-coat was used to cover the rest of the board so the remaining blue tiles would have a better grip.  After the background tiles are adhered, the grout will be applied.

Another thing that has played a big part in this project is tesserae thickness.  When you see a display of mosaic floors they give you a scale of width and length but height of the tile is a huge part of the creation.  It’s especially noticeable when doing “Forward Facing” pieces.

As I mentioned before the Peacock was done doing the “Forward Facing” method.  Flat surfaces benefited more with the “Reverse” or “Blind” method but you can’t use that technique when you have curved surfaces such as this Baptismal Font

Baptismal Font

These kinds of surfaces required a supply of loose tesserae of a variety of colors, lots of mortar and a great deal of patience for creating all the designs incorporated into the surface.  The Forward Method can work around angles and curves and several individuals would have been cutting tiles to fit the shapes around the edges.  Height or thickness of the tesserae make the surface uneven and harder to grout without lumps in the picture.

Due to the fact I was now at a stopping point before it’s showing at Birka, I decided for comparison I would do the smaller bird using the “Reverse” or “Blind” method.  It started off fairly easy.  I did the same thing with the tiles as I did for the peacock where I created the design by counting tiles by color and displaying the pattern forward so I could see all the pieces before they were reversed.

Being a smaller pattern, I only needed about a third the tiles and after the designed was laidd out I was able to take some special glue mesh cloth that I had from a previous job and adhere the parts directly to the mesh.  In period they would have used cloth with bees wax to obtain the same results.  The tiles were adhered by pressing through the wax paper backing.  It was flipped over and I created a frame border so that the mortar could be applied over the tiles and let dry for 36 hrs.

Then Tragedy struck.  It appears the mortar, which I had left in the shed for over 2 years, did not retain it’s solidifying capability over that time.  I can only imagine that moisture and cold first solidified and then broke the mortar powder so it was virtually useless.  The mosaic was flipped, the glue mesh was removed and the parts began to crumble.  You couldn’t even grab a corner of the mosaic without it crumbling in your hands.

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Strangely enough Baroness Megan had posted a thought provoking article about knowing when to destroy your work and start over again.  Timing is Everything.   I took this as a guiding message and went back and separated all the tiles from the rotten cement, cleaning them and reassembling the entire picture row by row.  I think my form of “Reverse” method was probably more true this time because the process was far more time consuming.  The first attempt took only a couple days (about 4 hrs) up to the point where it was back on the glue mesh paper.  Second time was across 2 week (20 hrs) between examining the pattern, scraping the tile clean of old mortar, placing it in the new framework along with all the filler tiles.  Fresh mortar and 36 hrs later:

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The new mixture made a much stronger backing and it was fairly easy to flip, clean and then mount onto a smaller backing board to guarantee it wouldn’t break if too much pressure was put directly against the surface.

So now, when you run your hand across the mosaic, except for the edge, there’s a fairly level, even surface. This “Plate” would be put in place on the floor by backing it with a thick layer of mortar that gets squeezed out the edges and scraped away so it becomes a permanent part of the floor in one level surface.

  Today is the Birka event here in the Barony of Stonemarche.  The “Reverse” method picture is displayed as an example of a newer technique while I work on placing the background onto the peacock picture.  I’ve got mostly the electric blue tesserae which I’m “buttering” (applying adhesive/mortar) to the backside of each tile and affixing them to the previously thin-coated surface.  I’m going to try and avoid the grid style I used on the “Reverse” method piece.  I want a more random direction similar to the original piece.

More details after the event will be added to this post.  Wish me luck.

    Bibliography:

(1) https://en.wikipedia.org/wiki/Tessera

(2) http://www.mosaics.wildgeckos.com/mosaic-masterclasses-at-kings-college-london-day-1/

(3) https://www.atlasobscura.com/articles/what-is-in-profane-museum-vatican

(4) https://www.mused-mosaik.de/en/2014/05/09/teamwork-iii-hllenistic-mosaic-in-reverse-method/

(5) https://mosaicschool.com/art/double_reverse/

(6)

Off the Beaten Path All roads lead to Rome, .........or so I've heard.  Even the tracks used for railroad trains here in the USA are based off a common standard road design set way back in…

[jpweb12]

9 Free Minimalistic Fonts To Use On Your Next Project

“The world is full of beautiful fonts—choosing the right one for your next project can be a daunting task.”

– Gary Hustwit

  Regardless if it’s about print, logo, packaging or web design, minimalistic fonts are an integral part of the process for every designer who wants to create eye-catching, effective and memorable graphic design projects. In modern design trends, the typography has gained more and more importance, as each project requires a different font in order to match with the general visual design and convey the right message to the audience.

Every designer loves freebies and there are so many free fonts released out there, that is hard to keep track all of them Therefore, we have rounded up 9 of our favorite free fonts to help you.

1. Entra

    Entra is an original and unusual looking font that was designed for usage in logos and eye-catching headlines. With a quite unique combination, the secret of this font lies in between sharp corners and rounded shapes, Entra is a modern looking cap-only font. Designed by Gatis Vilaks and Wild Ones Design, this font is free for personal and commercial use.

Free for personal and commercial usage.

Download this minimalistic font here 

  2. Ubuntu

    The Ubuntu typeface has been specially created to complement the Ubuntu tone of voice. It has a contemporary style and contains characteristics unique to the Ubuntu brand that convey a precise, reliable and free attitude.

The Ubuntu Font Family is a set of matching new libre/open fonts. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open license. 

Free minimalistic font for personal and commercial usage.

Download the font here 

  3. Crimson Text

    This free font family has been created specifically for book production and it is inspired by old-time, Garamond-esque book typefaces. Crimson Text is the work of German-born, Toronto-based designer Sebastian Kosch, who says he was inspired by the work of Jan Tschichold, Robert Slimbach and Jonathan Hoefler. 

It’s also the favorite free aesthetic font of Taylor Palmer, a senior UX designer based out of Utah, USA. “Crimson is a sophisticated serif that makes a nice alternative to traditional Garamond-esque typefaces,” he says. “It also has a very expressive italic, which pairs nicely with strong, geometric sans-serifs like Futura or Avenir.”

Free for personal and commercial usage.

Download the font here

  4. Comfortaa

    Comfortaa is a rounded geometric sans-serif type design intended for large sizes. Created by Johan Aakerlund, it’s a simple, minimalistic font, which includes a large number of different characters and symbols. Part of the Google Font Improvements Project, the latest updates to the family include the addition of a Cyrillic character set and support for Vietnamese. David Airey, a graphic designer and occasional writer in Northern Ireland, is among its admirers. “For a recent identity project, I used Comfortaa as the base for a bespoke wordmark. The before and after are really quite different, but Johan’s work gave me a great foundation, and the client loves the result.”

Free for personal and commercial usage.

Download the font here

5. Butler

    Inspired by a mix between both Dala Floda & the amazing Bodoni family, Butler is a free serif typeface. The main goal was to bring a bit of modernism to serif fonts by working on the curves of classical serif aesthetic fonts and adding an extra stencil family. Because of its highly contrasted typeface, this minimalist font is “great for posters, very big title, books and fancy stuff”. The Butler family contains a total of 334 characters, 7 regular weights and 7 stencil weights, text figures, ligatures, fractions and a lot more. It also suits many different languages with its added Free for personal and commercial usage.

Download the font here

  6. Jaapokki

    Jaapokki has been created by Finnish designer Mikko Nuuttilaa. This beautiful sans-serif font features clean lines, two alternatives and large set of glyphs and it’s great for headlines, posters, logos and more. And Rob Hampson, head of design at The Bot Platform, is particularly attracted to the more unusual elements of this free aesthetic font family. Hampson explains: “I found Jaapokki around a year ago and instantly fell in love with it. In fact, it’s the font I chose to use on my personal website. It has a range of choices, with some being more experimental than others. For example, ‘alternative subtract’ [shown above] experiments with removing elements of the font. This is definitely one to use at larger sizes.”

Free for personal and commercial usage.

Download the font here

  7. Clear Sans

  Designed with on-screen legibility in mind, Clear Sans is a versatile OpenType font suitable for screen, print, and Web. It strikes a balance between contemporary, professional, and stylish expression and thoroughly functional purpose. It has a sophisticated and elegant personality at all sizes, though its thoughtful design becomes even more evident at the thin weight.

Clear Sans is notable for its minimized characters and slightly narrow proportions, making it a great choice for UI design, from short labels to long passages (it has, for instance, been adopted by Mozilla for the ‘Firefox for Android’ browser). Also, Michael Surtee (Typographica) gives credit to this minimalist font: “I was drawn to Clear Sans for its practical nature. The different weights …offer great options for both readability and contrast, making all sorts of type and numbers easy for users to digest.”

Created by Daniel Ratighan at Monotype under the direction of Intel, Clear Sans supports a wide range of languages using Latin, Cyrillic and Greek, and includes medium, regular, thin, and light weights with upright, italic, and bold styles.

Free for personal and commercial usage.

Download the font here

8. Source Sans Pro

      Released in 2012, Source Sans Pro was the first open source type family for Adobe, and has proved to be wildly popular among the designers. It was envisioned as a classic grotesque typeface with a simple, unassuming design, intended to work well in user interfaces. Designed by Paul D. Hunt, who continues to work as a type designer at Adobe, Source Sans Pro has Source Serif Pro as complementary free aestetic font .

Source Sans Pro is one of the favorite free minimalist fonts of James Hollingworth, a senior-level digital designer and illustrator based near Bath, UK. “It’s such a solid, reliable font to use in design work,” he enthuses. “Being dyslexic myself, I find it a very easy font to read, and it works brilliantly in user interfaces.” 

Free for personal and commercial usage.

Download the free minimalist font here

  9. Cormorant

    Cormorant is a display serif typeface inspired by the Garamond heritage. It was hand-drawn and produced by Christian Thalmann, (Catharsis Fonts), who describes it as containing “scandalously small counters, razor-sharp series, dangerously smooth curves, and flamboyantly tall accents”. The font is best used for headlines and poster text at large sizes, both on screen and in print, but is also highly legible at smaller text sizes.

The design goal of Cormorant was to distil the aesthetic font essence of Garamond, unfetter it from the limitations of metal printing, and allow it to bloom into its natural refined form at high definition.

Cormorant fonts come in three distinct master styles: The classic Cormorant Roman, the matching true italics, Cormorant Italic, and Cormorant Upright. Furthermore, in order to make it more accessible for users without OType savvyavvy applications, Cormorant Roman offers four variant styles:

Cormorant Garamond – offers larger counters and subtly more traditional Garamond shapes for a few key characters to achieve more reading comfort

Cormorant Infant  – the letters «a g y» and their derivatives are replaced by gentle schoolbook-style single-storey shapes; 

Cormorant SC –  the lowercase glyphs are replaced by small-caps

Cormorant Unicase  – a small-caps variant having some lowercase letterforms for an eye-catching futuristic look. 

Each style is available in a range of five weights: Light, Regular, Medium, Semibold, and Bold.

Free for personal and commercial usage.

Download the font here

  Which one is your favorite minimalist font? Have we missed anything? Let us know in the comments bellow.

Here are more awesome headline fonts.

Read More at 9 Free Minimalistic Fonts To Use On Your Next Project

from IT Feed https://webdesignledger.com/9-free-minimalistic-fonts-to-use-on-your-next-project-free-fonts/

#IT Feed

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9 Free Minimalistic Fonts To Use On Your Next Project

“The world is full of beautiful fonts—choosing the right one for your next project can be a daunting task.” – Gary Hustwit   Regardless if it’s about print, logo, packaging or web design, minimalistic fonts are an integral part of the process for every designer who wants to create eye-catching, effective and memorable graphic design projects. In modern design trends, the typography has gained more and more importance, as each project requires a different font in order to match with the general visual design and convey the right message to the audience. Every designer loves freebies and there are so many free fonts released out there, that is hard to keep track all of them Therefore, we have rounded up 9 of our favorite free fonts to help you. 1. Entra     Entra is an original and unusual looking font that was designed for usage in logos and eye-catching headlines. With a quite unique combination, the secret of this font lies in between sharp corners and rounded shapes, Entra is a modern looking cap-only font. Designed by Gatis Vilaks and Wild Ones Design, this font is free for personal and commercial use. Free for personal and commercial usage. Download this minimalistic font here    2. Ubuntu     The Ubuntu typeface has been specially created to complement the Ubuntu tone of voice. It has a contemporary style and contains characteristics unique to the Ubuntu brand that convey a precise, reliable and free attitude. The Ubuntu Font Family is a set of matching new libre/open fonts. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open license.  Free minimalistic font for personal and commercial usage. Download the font here    3. Crimson Text     This free font family has been created specifically for book production and it is inspired by old-time, Garamond-esque book typefaces. Crimson Text is the work of German-born, Toronto-based designer Sebastian Kosch, who says he was inspired by the work of Jan Tschichold, Robert Slimbach and Jonathan Hoefler.  It’s also the favorite free aesthetic font of Taylor Palmer, a senior UX designer based out of Utah, USA. “Crimson is a sophisticated serif that makes a nice alternative to traditional Garamond-esque typefaces,” he says. “It also has a very expressive italic, which pairs nicely with strong, geometric sans-serifs like Futura or Avenir.” Free for personal and commercial usage. Download the font here   4. Comfortaa     Comfortaa is a rounded geometric sans-serif type design intended for large sizes. Created by Johan Aakerlund, it’s a simple, minimalistic font, which includes a large number of different characters and symbols. Part of the Google Font Improvements Project, the latest updates to the family include the addition of a Cyrillic character set and support for Vietnamese. David Airey, a graphic designer and occasional writer in Northern Ireland, is among its admirers. “For a recent identity project, I used Comfortaa as the base for a bespoke wordmark. The before and after are really quite different, but Johan’s work gave me a great foundation, and the client loves the result.” Free for personal and commercial usage. Download the font here 5. Butler     Inspired by a mix between both Dala Floda & the amazing Bodoni family, Butler is a free serif typeface. The main goal was to bring a bit of modernism to serif fonts by working on the curves of classical serif aesthetic fonts and adding an extra stencil family. Because of its highly contrasted typeface, this minimalist font is “great for posters, very big title, books and fancy stuff”. The Butler family contains a total of 334 characters, 7 regular weights and 7 stencil weights, text figures, ligatures, fractions and a lot more. It also suits many different languages with its added Free for personal and commercial usage. Download the font here   6. Jaapokki     Jaapokki has been created by Finnish designer Mikko Nuuttilaa. This beautiful sans-serif font features clean lines, two alternatives and large set of glyphs and it’s great for headlines, posters, logos and more. And Rob Hampson, head of design at The Bot Platform, is particularly attracted to the more unusual elements of this free aesthetic font family. Hampson explains: “I found Jaapokki around a year ago and instantly fell in love with it. In fact, it’s the font I chose to use on my personal website. It has a range of choices, with some being more experimental than others. For example, ‘alternative subtract’ [shown above] experiments with removing elements of the font. This is definitely one to use at larger sizes.” Free for personal and commercial usage. Download the font here   7. Clear Sans   Designed with on-screen legibility in mind, Clear Sans is a versatile OpenType font suitable for screen, print, and Web. It strikes a balance between contemporary, professional, and stylish expression and thoroughly functional purpose. It has a sophisticated and elegant personality at all sizes, though its thoughtful design becomes even more evident at the thin weight. Clear Sans is notable for its minimized characters and slightly narrow proportions, making it a great choice for UI design, from short labels to long passages (it has, for instance, been adopted by Mozilla for the ‘Firefox for Android’ browser). Also, Michael Surtee (Typographica) gives credit to this minimalist font: “I was drawn to Clear Sans for its practical nature. The different weights …offer great options for both readability and contrast, making all sorts of type and numbers easy for users to digest.” Created by Daniel Ratighan at Monotype under the direction of Intel, Clear Sans supports a wide range of languages using Latin, Cyrillic and Greek, and includes medium, regular, thin, and light weights with upright, italic, and bold styles. Free for personal and commercial usage. Download the font here 8. Source Sans Pro       Released in 2012, Source Sans Pro was the first open source type family for Adobe, and has proved to be wildly popular among the designers. It was envisioned as a classic grotesque typeface with a simple, unassuming design, intended to work well in user interfaces. Designed by Paul D. Hunt, who continues to work as a type designer at Adobe, Source Sans Pro has Source Serif Pro as complementary free aestetic font . Source Sans Pro is one of the favorite free minimalist fonts of James Hollingworth, a senior-level digital designer and illustrator based near Bath, UK. “It’s such a solid, reliable font to use in design work,” he enthuses. “Being dyslexic myself, I find it a very easy font to read, and it works brilliantly in user interfaces.”  Free for personal and commercial usage. Download the free minimalist font here   9. Cormorant     Cormorant is a display serif typeface inspired by the Garamond heritage. It was hand-drawn and produced by Christian Thalmann, (Catharsis Fonts), who describes it as containing “scandalously small counters, razor-sharp series, dangerously smooth curves, and flamboyantly tall accents”. The font is best used for headlines and poster text at large sizes, both on screen and in print, but is also highly legible at smaller text sizes. The design goal of Cormorant was to distil the aesthetic font essence of Garamond, unfetter it from the limitations of metal printing, and allow it to bloom into its natural refined form at high definition. Cormorant fonts come in three distinct master styles: The classic Cormorant Roman, the matching true italics, Cormorant Italic, and Cormorant Upright. Furthermore, in order to make it more accessible for users without OType savvyavvy applications, Cormorant Roman offers four variant styles: * Cormorant Garamond – offers larger counters and subtly more traditional Garamond shapes for a few key characters to achieve more reading comfort * Cormorant Infant  – the letters «a g y» and their derivatives are replaced by gentle schoolbook-style single-storey shapes;  * Cormorant SC –  the lowercase glyphs are replaced by small-caps * Cormorant Unicase  – a small-caps variant having some lowercase letterforms for an eye-catching futuristic look.  Each style is available in a range of five weights: Light, Regular, Medium, Semibold, and Bold. * Free for personal and commercial usage. * Download the font here   Which one is your favorite minimalist font? Have we missed anything? Let us know in the comments bellow. Here are more awesome headline fonts. Read More at 9 Free Minimalistic Fonts To Use On Your Next Project http://dlvr.it/PGZZvp www.regulardomainname.com

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