Eventually, this difference is extended to Greek and Cyrillic as well. At first sight, even an untrained eye can spot differences on letters “I” and “J” between Chinese and European, but can’t clearly understand why.īy looking closely, the differences become apparent in all Latin letters. So, on one hand Google offers a variety that can function effectively both on European and Chinese language, but on the other hand the unity of the scripts is lost. Very thoughtful, thanks Google! However, there is always the other side of the coin. For example, the Latin in the Japanese and Chinese version is different from the Latin in the European version. The interesting fact is that this typeface has different designs for the same letters to match better with the different languages. Noto (its Google name) or Source Han (its Adobe name), call it as you wish, is considered to be one of the richest typefaces according to its variety of content.
FONTBOOK TO UNITY FOR FREE
Google’s and Adobe’s new typeface covers all scripts and existing languages and it's in your Font Book in one click, as the download is for free usage for both print and web cases. With the global font Noto, Google+Adobe, these massive global giants decided to join forces in order to produce one common typeface in an attempt to rule all the existing typefaces. The plan to dominate is not that well planned after all
The people at Google may have done an amazing job to test its performance with an exhaustive number of various media, but on the other hand it does not seem to appeal to designers as much as we would have expected based on its pompous claim in Material Design. Google’s attempt to differentiate Roboto from other classic ‘neutral’ typefaces has resulted an unattractive mix of open and closed shapes that seem as if they belong to different typefaces. Despite that, Roboto’s design looks quite inconsistent. The changes can be easily seen on letters such as R and K, while the square over the “i” and “j” is replaced with a dot. This new typeface claims a friendlier look and has been created to work more effectively on any kind of device and screen -from watches and cars to giant screens. Now, in 2014, Google redesigned the typeface in order to serve even more effectively the magnificent world of Android. This is Material Design.” So, it might be clear to us that Material Design is the new evolution of the digital era but what happens with the existing “material” such as the Roboto typeface? The old story is that Roboto typeface has its roots back in 2011 when it was born and raised in the Google house supervised by Christian Robertson. We challenged ourselves to create a visual language for our users that synthesizes the classic principles of good design with the innovation and possibility of technology and science. As those needs evolve, so too must our designs, practices, and philosophies. Our goal is to satisfy the diverse spectrum of human needs. By reading the following arguments we were not just impressed, but a little bit concerned as well: “.Design: is the art of considered creation. Each one of them is interesting and praiseworthy.Ī couple of months ago, the design community, and not only, was shocked by the presentation of Google’s new design guidelines, under the ambiguous name Material Design. First with Google fonts and now with the creation of custom typefaces in cooperation with Adobe, Google seems to solve all of our problems regarding typography, yet how much effort does it put to solve its own issues? Here we present you four essential facts worth noticing about the notorious relationship between typography and Google.