Johannes López Ayala 🇪🇺さんのイラストまとめ

№ 100 brings the Arabic script into focus for the 1st time: “Klapt Arabic” (https://t.co/PplrWtjme3) by @vitoriaseven for @seventype_ uses the “soft outside—sharp inside” principle for a fascinating contrast between geometric construction & calligraphic heritage. #366fonts (100)

Joined @tortoise for the Slow News, stayed for the cartoons.
https://t.co/FwZUe7sWnX

@TypeMatesFonts The ğ from Pensum Sans ExtraBold looks like it’s straight out of a ğraphic novel. Love this ğlyph.

“Majorant” (https://t.co/tFbKfoEiwt) by Eduardo Manso for @emtype is a geometric font family that in some ways alludes to classic typefaces like Erbar but is by itself a very contemporary design. Spiky angled terminals, diagonal cuts, & long tittles make it unique. #366fonts (77)

“Referenz Grotesk” (https://t.co/xDQ7YiruPg) by @StefanieBlack & Dirk Wachowiak for @sudtipos is a neo-grotesque typeface “full of references referring to the type design history of Stuttgart State Academy of Art & Design”. Lots of stylistic alternates, 4 flavours. #366fonts (70)

“Eklektyk” (https://t.co/86DBPi65Jr) by Maciej Połczyński for @LaicType is a dynamic display typeface that ticks some of the current type trend boxes. Alternate glyphs make for eye-catching headlines. A “stencil” style is free for personal & commercial desktop use. #366fonts (62)

“Plaisir” (https://t.co/IDikd3fv7H) by Dusan Jelesijevic for @tourdefonts is a serif font family with sharp edges and long, pointy serifs. Quirky details like the warped /o /O, the almost-toppling /s /S and bent terminals in the italic make for some personality. #366fonts (53)

“Allotrope” (https://t.co/A9nMbqMM9z) by @KosticType is a 100-font sans-serif family with 5 widths. This typeface has both technical and woodcut-style design characteristics. Its squarish forms reflect its intended use as a UI font for pixel-based displays. #366fonts (48)

Another nice font choice for a last-minute #ValentinesDay card: “Cal Roman Modern” (https://t.co/fFCFiJpYeH), a beautiful 1950’s/1960’s all-caps brush typeface designed by Serbian type designer, Lazar Dimitrijević, for Posterizer KG. Rhythmic, informal—yet elegant. #366fonts (46)

René Bieder’s new typeface is “Novera” (https://t.co/dU1tITq6kO), a(nother) sans “inspired by the work of Paul Renner, Eric Gill or Jakob Erbar, combining the geometric with the human”. What sets Novera apart are its 2 distinct incarnations, “Classic” & “Modern”. #366fonts (32)