![]() ![]() It’s not the first time most of these languages are getting a typeface, but it is the first time they've been bound together by a cohesive visual language. These finely tuned details are what makes Noto’s ambition so impressive. ![]() And although not all languages rest at the same baseline and capline (letters in Asian languages tend to stand taller than those in Latin languages), they align to an imaginary line that bisects the Latin alphabet. Every font has a similar weight, providing some semblance of continuity. You'll see some common shapes echoed throughout fonts within the Noto family. “It’s not easy to interpret fancy calligraphic languages like Tibetan into a Futura typeface model, which is all circles and straight lines,” he says. to integrate a service like Google Fonts into the WordPress Customizer settings for a. He avoided making Noto too austere, mostly because the shapes wouldn’t translate as nicely to other languages. Fonts are a defining characteristic of the design of any site. He designed Noto to be modern but friendly, with open counters, soft terminals, and strokes rooted in 5th century calligraphy. “We wanted to make it so when people changed their language settings it didn’t look like they were using a completely different platform,” Matteson says. The goal was to create a family of fonts that appear at least distantly related. Some fonts, like Runic, are so obscure that typographers at Monotype built the font from scratch using stone engravings for inspiration. Other Serif google fonts that work well are Playfair Display, Libre Baskerville, Antic Slab, EB Garamond and Cinzel. The Arabic typeface is emphasized in left to right strokes, while French's letters carry their weight in their vertical stems. The Tibetan script, for example, draws heavily from a calligraphic tradition, while English is more linear and geometric. And making those fonts “unmistakably Google” is nearly impossible. “That was always the complaint we got-fonts just don’t look good when you mix languages.” But developing a typeface for 800 languages that feels cohesive yet respectful of each language's cultural heritage created inherent tension. “You’d get this mishmash of fonts,” Jung says. So they’d buy one for Latin scripts like Spanish and French, another for Arabic scripts, and yet another for Japanese and Chinese. In the past, platforms licensed fonts for different scripts piecemeal (a script can cover a number of languages-English, Icelandic, and Dutch are just three of the dozens of languages that rely on Latin script). He led hundreds of researchers, designers, and linguists in giving every Unicode-enabled script a font, and ensuring those fonts feel like part of the same typographic family. ![]() If these less common languages have a digital typeface, it’s probably not well considered, because “certain regions of the world have much more rich typographic traditions than others,” says Steve Matteson, Monotype’s creative director. But people read and write in hundreds of languages. ![]()
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