Hands-on High technical quality, and good legibility in small sizes. That said, this is one fairy neutral and versatile font. PT Sans has all the distinctive features of a humanist sans serif, such as a significant calligraphic influence or dynamic ovals. Makes part of the open PT Fonts family, which supports more than 70 languages using Cyrillic. But you better avoid using its Cyrillic, - especially in the bolder weights.Īlexandra Korolkova, Olga Umpeleva, Vladimir Yefimov Open Sans can be used when there is no need to save space. Open Sans Condensed has inherited all the above problems - all while having even worse traits, such as the length of descenders in its д. ц and щ in every italic style have uncomfortably short shoulders. Likewise, problems of the italic design arise depending on the style: as ж gains weight, it also gains balance - while ы, au contraire, gets too wide and lacks volume in its oval (same problem with upright glyphs). In Чч, the horizontal stroke hikes up too high at the junction point, wrongly imitating dynamics of Latin-version arcs. Cyrillic breve has proper contrast, but it’s too wide. The tail of У is placed too far to its left, and the one of б - to the right (in addition to being too long here). In bold faces, Ии is most clearly marked by unwanted reverse contrast - and the head of Я lacks volume, significantly. Besides that, **Дд has an unfortunate balance of its upper part and its baseline - the latter has too long descending strokes. See the letterforms and the open aperture.įor example, the stroke dynamics of Лл and Дд **looks redundant, especially in the lighter styles. It works well if you need to combine the two faces - yet you probably won’t be able to arrange a tight leading, natural for a condensed typeface.Ĭyrillic Borrows from Latin in terms of its dynamic personality - sometimes, excessively. Lengths of ascenders, descenders, and other vertical metrics remain unchanged with respect to regular face. There is a narrow version, Open Sans Condensed. We can find this letterform in Renaissance typefaces, so in this sense, the humanist character of the font is rather consistent. It is relatively independent of its roman version, yet certain glyphs are replicating the upright forms - such as thus two-story g. Styles Humanist nature of the font is manifested in its italic style, too. Note the lavish vertical and horizontal proportions - it is not some compact typeface for limited spaces. Due to the open aperture and large uppercase letters, the font is highly legible in small sizes. For example, take an uppercase J that has descended below the font baseline. There was no kerning, and it affects designs of certain glyphs. This way its closed-counter glyphs can let more air in, which balances them against open-counter glyphs. Of an obvious humanist nature, however smooth: vertical contrast axes, squarish ovals and arcs. In short, humanist sans serifs are sans serif typefaces that somehow inherit, in one way or another, dynamics and letterforms of the broad nib.Īs the name suggests, it’s an open-aperture sans serif. Any bug can be turned into a feature in the hands of a daring, confident typographer, - only before taking risks, you should figure out what this bug actually is. Plus, you always have to remember that there is no such thing as forbidden means and tools in design. Our critique and our advice do not have a monopoly on the truth - that’s just an expert review by three professionals sharing the same values. Sadly, browsing Cyrillic fonts is still like walking in a minefield but there is also some good news. Today, a free font doesn’t necessarily mean that it’s bad. type designer, partner at CSTM Fonts and type.today.Works with CSTM Fonts and Samarskaya & Partners type designer, graduate of Ilya Ruderman’s course at BHSAD (Moscow) and Plantin Institute of Typography (Antwerp).
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