Over the previous number of decades, the many applications that joined print as media needing style options have integrated to necessitate a visual development that favours controlled optical geometry and mindful counter-space factor to consider over decorative features generally connected with print style. This is now true in corporate, marketing and interface design, and is even spilling over into editorial designs. Such focus on clarity and accuracy in modern-day style environments have brought to light the lots of problems that riddle traditional print faces, and increased the call for new services. The renewed type design market reacted to the demand, in some cases with original takes that construct on the classics, and often with merely subtle distinctions from the old aesthetics.
The Davis family, though in its own right an exceptional modern-day typeface that works quite well in traditional environments, was developed and produced to be one half of a set of equivalents-- a piece and a sans-- that please the multiple layers of business and advertising jobs, from identity and editorial to the lots of levels of item branding.
Davis and Davis Sans can be found in 4 weights with matching real italics, amounting to 8 font styles per family. Each font consists of over 400 glyphs, with extended Latin language support, stylistic alternates, and class-based kerning.
This job was motivated in part by our desire to send a number of really promising style trainees to a postgraduate MA program in typeface style, the costs of which continue to be significantly expensive for the huge majority of style graduates. With that in mind, we have made the Davis and Davis Sans families readily available at token pricing for design specialists and trainees alike, and the entirety of Canada Type's revenues from these faces will be donated to those graduates seeking their higher education.
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