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Download PDF Specimen OVERPASS™ An interpretation of the U.S. FHWA signage letterforms. Designed by Delve Withrington, Dave Bailey, and Thomas Jockin Cyrillic Script + Variable Release · Version 4.0 · March 22, 2021 OVERPASS ASYNCHRONOUS Self-Executing Anonymous Function POLITIKA ĠDIDA GĦALL-KONFORMITÀ TAD-DEJTA Kumulativní finanční pozice Per-unit cost of goods or services Mass 419,725 kg. Length 73.0 m. Width 109.0 m. Giải pháp thay thế năng lượng sạch OVERPASS 2 OVERPASS Электромобиль Будущее за беспилотными автомобилями здесь! OVERPASS 3 OVERPASS 24PT WEIGHT COMPARISON HEAVY Hamburgefontsiv HEAVY ITALIC Hamburgefontsiv EXTRABOLD Hamburgefontsiv EXTRABOLD ITALIC Hamburgefontsiv BOLD Hamburgefontsiv BOLD ITALIC Hamburgefontsiv SEMIBOLD Hamburgefontsiv SEMIBOLD ITALIC Hamburgefontsiv MEDIUM Hamburgefontsiv MEDIUM ITALIC Hamburgefontsiv REGULAR Hamburgefontsiv ITALIC Hamburgefontsiv LIGHT Hamburgefontsiv LIGHT ITALIC Hamburgefontsiv EXTRALIGHT Hamburgefontsiv EXTRALIGHT ITALIC Hamburgefontsiv THIN Hamburgefontsiv THIN ITALIC Hamburgefontsiv OVERPASS 4 OVERPASS Features MONOSPACED STYLES WORLDWIDE CURRENCY SYMBOLS ₮₳฿₿₡₢₫€₲₴₺₦₽₹៛₭₾₼$₸﷼Minimal → Minimal ؋ CODE FRIENDLY GLYPHS USEFUL SYMBOLS & SHAPES *1.00 ⌂ ⌗ ⌘ ⌥ ⌦ ⏎ ⏏ ⏻ ⮚ ○ ◇ □ ▷ ☠♪ LOCALIZED FORMS NUMBER VARIANTS дом → дом ❶❷❸①②③¹²³123123₁₂₃ TABULAR FIGURES ARROWS FOR DAYS 0|1|2|3|4|5|6|7|8|9 ↑ ↗ → ↘ ↓ ↙ ← ↖ ↕ ⇥ ↳ ↶ ↸ ↺ ⇝ ⇢ BOX DRAWING SET Additional Features Include: Contextual Alternates, Fractions, Mathematical Operators, Case-Sensitive Forms, Capital Spacing, ╒╩╿ ┬ ┴ ┅ ╏ ╍ ╰ ╳ ╮ Standard Ligatures, Ordinals, and Stylistic Alternates OVERPASS 5 OVERPASS Story The design of Overpass is an interpretation of the well-known Designers: Delve Withrington, Dave Bailey, and Thomas Jockin letterforms from the Standard Alphabets for Traffic Control TrueType Hinting: Jason Campbell Devices published by the U.S. Federal Highway Administration. Direction: Dave Crossland, Andy Fitzsimon, Jakub Steiner, and Starting from those original drawing specifications, critical Ben Dubrovsky adjustments were made to yield optimal results for on-screen Special thanks to Michael Luton for his insight and support. and in the more extreme weights for use at display sizes. 23 styles total. Overpass: Thin, Thin Italic, ExtraLight, ExtraLight New Variable Font versions are introduced with this latest Italic, Light, Light Italic, Regular, Italic, Medium, Medium update to the Overpass family. In addition, the glyph Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, ExtraBold, repertoire was greatly expanded to include support for ExtraBold Italic, Heavy, Heavy Italic; Overpass Mono: Light, Cyrillic script, Vietnamese, many African languages, and more. Regular, Medium, SemiBold, Bold Overpass also has nine ‘static’ weights ranging from Extra Light to Heavy with Italic counterparts for each. In addition, the Formats Available: OpenType (otf), and Webfonts (ttf, woff monospaced variants of Overpass in five weights are specially woff2) tuned for the requirements of programming. Overpass was initially designed on commission for Red Hat, Inc. by Delve Fonts. Red Hat subsequently made the Overpass family freely available to the public under the SIL Open Font License and the GNU Lesser General Public License (LGPL). Development of this latest version (4.0) of Overpass was made possible with sponsorship by Google Fonts and with donations from individuals from all around the world — Thank You! OVERPASS 6 OVERPASS Variable Fonts OVERPASS DESIGN SPACE (WEIGHT & SLANT AXES) OVERPASS MONO DESIGN SPACE (WEIGHT AXIS) HEAVY (900) O | EXTRABOLD (800) O | BOLD (700) O O BOLD (700) | | SEMIBOLD (600) O O SEMIBOLD (600) | | MEDIUM (500) O O MEDIUM (500) | | REGULAR (400) O O REGULAR (400) | | LIGHT (300) O O LIGHT (300) | EXTRALIGHT (200) O | THIN (100) O |—O—O—O—O—O—O—O—O—O (800) (700) (600) (500) (400) (300) (200) (100) ITALIC ITALIC ITALIC ITALIC ITALIC ITALIC ITALIC ITALIC BOLD LIGHT THIN HEAVY ITALIC (900) MEDIUM SEMIBOLD REGULAR EXTRABOLD EXTRALIGHT OVERPASS 7 OVERPASS 12PT HEAVY 12PT EXTRABOLD 12PT BOLD The goal in letter spacing is The goal in letter spacing is The goal in letter spacing is to develop an ideal negative to develop an ideal negative to develop an ideal negative (white) space for each class (white) space for each class (white) space for each class of letter. When these letters of letter. When these letters of letter. When these letters are then juxtaposed, the white are then juxtaposed, the white are then juxtaposed, the white space between them balances space between them balances space between them balances with the white within them with the white within them with the white within them to create an optically even to create an optically even to create an optically even (balanced) tone or flow. This (balanced) tone or flow. This (balanced) tone or flow. This produces optimum readability produces optimum readability produces optimum readability 12PT HEAVY ITALIC 12PT EXTRABOLD ITALIC 12PT BOLD ITALIC The goal in letter spacing is The goal in letter spacing is The goal in letter spacing is to develop an ideal negative to develop an ideal negative to develop an ideal negative (white) space for each class (white) space for each class of (white) space for each class of of letter. When these letters letter. When these letters are letter. When these letters are are then juxtaposed, the white then juxtaposed, the white space then juxtaposed, the white space space between them balances between them balances with the between them balances with the with the white within them white within them to create an white within them to create an to create an optically even optically even (balanced) tone optically even (balanced) tone (balanced) tone or flow. This or flow. This produces optimum or flow. This produces optimum produces optimum readability readability and good legibility. readability and good legibility. OVERPASS 8 OVERPASS 12PT SEMIBOLD 12PT MEDIUM 12PT REGULAR The goal in letter spacing is The goal in letter spacing is The goal in letter spacing is to develop an ideal negative to develop an ideal negative to develop an ideal negative (white) space for each class (white) space for each class (white) space for each class of letter. When these letters of letter. When these letters of letter. When these letters are then juxtaposed, the white are then juxtaposed, the white are then juxtaposed, the white space between them balances space between them balances space between them balances with the white within them with the white within them with the white within them to create an optically even to create an optically even to create an optically even (balanced) tone or flow. This (balanced) tone or flow. This (balanced) tone or flow. This produces optimum readability produces optimum readability produces optimum readability 12PT SEMIBOLD ITALIC 12PT MEDIUM ITALIC 12PT ITALIC The goal in letter spacing is The goal in letter spacing is The goal in letter spacing is to develop an ideal negative to develop an ideal negative to develop an ideal negative (white) space for each class of (white) space for each class of (white) space for each class of letter. When these letters are letter. When these letters are letter. When these letters are then juxtaposed, the white space then juxtaposed, the white space then juxtaposed, the white space between them balances with the between them balances with the between them balances with the white within them to create an white within them to create an white within them to create an optically even (balanced) tone optically even (balanced) tone optically even (balanced) tone or flow. This produces optimum or flow. This produces optimum or flow. This produces optimum readability and good legibility. readability and good legibility. readability and good legibility. OVERPASS 9 OVERPASS 12PT LIGHT 12PT EXTRALIGHT 12PT THIN The goal in letter spacing is to The goal in letter spacing is to The goal in letter spacing is to develop an ideal negative (white) develop an ideal negative (white) develop an ideal negative (white) space for each class of letter. space for each class of letter. space for each class of letter. When these letters are then When these letters are then When these letters are then juxtaposed, the white space juxtaposed, the white space juxtaposed, the white space between them balances with the between them balances with the between them balances with the white within them to create an white within them to create an white within them to create an optically even (balanced) tone optically even (balanced) tone optically even (balanced) tone or flow. This produces optimum or flow. This produces optimum or flow. This produces optimum readability and good legibility. readability and good legibility. readability and good legibility. 12PT LIGHT ITALIC 12PT EXTRALIGHT ITALIC 12PT THIN ITALIC The goal in letter spacing is The goal in letter spacing is to The goal in letter spacing is to to develop an ideal negative develop an ideal negative (white) develop an ideal negative (white) (white) space for each class of space for each class of letter. When space for each class of letter. When letter. When these letters are these letters are then juxtaposed, these letters are then juxtaposed, then juxtaposed, the white space the white space between them the white space between them between them balances with the balances with the white within balances with the white within white within them to create an them to create an optically even them to create an optically even optically even (balanced) tone (balanced)
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