Detroit Metro - Detroit Metro® is a 1930's urban classic revival of 12 fonts from Metro light to rough together with the classic Regular styles and weights offering designers a wider range of options.
Madromit family consists of 5 styles for stacking colors and is, so to speak, the revival of the primitive digital type from the 80's and 90's.
Related Available Fonts
About This Font
The 1940s and 1950s in America have taken on a mythology of their own, imagined by some as an idyllic time when the daily life, dreams, and sensibilities of a nation were stable, solid, unchanging. Yet this was when the same mothers who sewed their children's names onto collars for summer camp using needle and thread and who picked berries at roadside fruit stands to lay up ruby and purple jams for the winter, also read books about scientific parenting, squeezed high-end appliances out of slim budgets, and dreamed of Jetson homes.
What we now treasure as “retro” was a time of powerful transformation, as the extraordinary beauty of the handmade past slipped slowly toward the outmoded, and as a nation we became restless for a manufactured perfection. How perfect, indeed, that we'd soon be watching as one while one of our own stepped onto the surface of the moon.
Number Five captures the moments before we moved into our Brave New World. The letters are subtly retro and just barely distressed, and are evocative of Betty Crocker cookbooks used by women in high heels and crisp aprons, signs painted on old barns along the highway, and slow summer days with Joltin' Joe Dimaggio (and his number 5 jersey) at bat. This was a time when modern machine-made was adored, yet handmade was the norm, and the functional hand-drawn still had a beauty all its own, whether or not we could still discern it.
My motivation in designing Number Five (which was named not for Joe but for my own jersey, my favorite number since childhood, my lucky charm), was to capture this time of Jim Beam, plaid Bermuda shorts, laundromat signs, and hometown storefronts beckoning with freshly painted sign painter's scripts. The human spirit still ruled in what we made, back in these days when Main Street, not Big Box stores, prevailed—and even when the edges of our goods were rough, the work spoke of warmth and a practiced hand.
The lettering is bold and dark, beautiful but not especially feminine or even sophisticated, a casual down-to-earth script. Like many of my fonts, the letters grew organically, possibly triggered by watching an old movie or remembering the cheers when I was a kickass Little League pitcher. I used pencil to construct them, then scanned and finessed them on the computer. Constructed faces are carefully crafted and demanding, they don't flow naturally from the pen or brush. Yet, designing the letters was hard work that came easily compared to others I've made; I drew the outlines on a single sheet of paper, which is unusual for me; perhaps the letters had a strong American identity running through them from the start and I simply followed them to completion. I intuited the direction I was headed: unpretentious, friendly, oddly familiar—as “retro” should be.
The two versions are kissin' cousins, lending themselves to different purposes and kindling a different feeling, as similar as they seem at first glance. Smooth is the slick version; I think of a pale, crisp, clean lager. Rough is the nut brown ale, or, taking it back in time, the neighborbood's hardware store sign, at the center of town.
TECHNICAL: Number 5 has 433 alternates, including a set of unconnected letters (the default set is all a connected script), and ten ornaments.
Don't have access to Open Type features and the "extras" in this and other fonts, or have Illustrator or InDesign on your shelf? I recommend PopChar. It's only about $30, is both Mac and Windows-compatible and a breeze to use. Find it at http://www.ergonis.com/products/
About Laura Worthington
Laura Worthington is a typeface designer from Washington State. After training and working as a graphic designer since the mid-‘90s, she turned her lifelong fascination with lettering and typography into a business, publishing her first typeface in 2010. She has since published more than 80 typefaces, and designed custom faces for Fortune 500 companies. Laura’s faces are based on her own hand-lettering and calligraphy, a practice she continues to hone daily.
FONT SOFTWARE END USER LICENSE AGREEMENT -
This Font Software End User Agreement (the “Agreement” or “License”) is a legal binding agreement between you and Laura Worthington. When you purchase any Laura Worthington fonts, you agree to the terms and conditions of this License. If you do not agree to the terms of the License/Agreement, do not access, use or download the Font Software.
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3. “Fonts” or “Font Software” means the software that generates the typeface, typographic designs and ornaments. Font Software shall include all bitmap and vector representations of typeface and typographic designs and ornaments created by or derived from the Font Software as well as, upgrades, updates, related files, permitted modifications, permitted copies, and related documentation.
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a. ALPHABET PRODUCTS;
b. BROADCAST or FILM;
c. ELECTRONIC DEVICE EMBEDDING and SOFTWARE EMBEDDING; such as in applications (“Apps”) in mobile or tablet type devices, or as a part of online software accessed through website browsers;
d. WEB FONTS.
e. LARGE VOLUME COMMERCIAL USE OF MORE THAN 250,000 INSTANCES
In order to obtain an extended license, or If you are uncertain whether your use of Laura Worthington’s Fonts is specifically permitted under this Agreement, contact Laura Worthington at email@example.com for more information.
a. ALPHABET OR LETTERFORM PRODUCTS whereby individual glyphs (modified or unmodified,) such as letters, numerals, symbols, catchwords, punctuation and/or ornaments are offered in a physical or digital product is prohibited.
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c. ELECTRONIC DEVICE EMBEDDING and SOFTWARE EMBEDDING; such as in applications (“Apps”) in mobile, tablet devices or in online browser enabled software; Embedded Electronic Devices includes the use of the Font Software for any on-screen display or on an electronic device outside a single location. For example, and not by way of limitation, such electronic devices include a kiosk or gaming devices, embroidery or sewing machines. Use of the Font to create a Company Logo is permitted. Upon the purchase of an extended license, the Font Software may be embedded and resident within an electronic device provided it cannot be extracted from the device. NOTE: This restriction does NOT include laptop/notebook CPUs which are defined as a standard device in this License Agreement. The embedding or other use of the Fonts or the outlines thereof, in works distributed electronically and/or via physical media for sale, is prohibited under this License. Any such use requires the express written permission by LW and may or may not require the purchase of a license upgrade at the sole discretion of LW. In the event any dingbats or other art forms are part of the Font Software, use of the artwork is further restricted.
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More than 250,000 instances of use of either print or digital A) products, documents, promotional campaigns and/or related materials; B) advertising campaigns and/or related materials; or C) product packaging and/or related materials; is not permitted without a Large Volume Commercial license extension. This includes, but is not limited to, each interior and/or exterior store/business sign, billboard and/or electronic billboard, product package, social media post, gas pump display, billboard, coupon, media case, book cover, etc. in which the font appears in a static, rasterized, non-moving manner. If you require this type of use, please contact us for a quote.
15. PHYSICAL DESIGNS and/or DIGITAL ART DOWNLOADS You may use the font software to create printed works and digital designs (this does not include individual, modified or unmodified glyphs, such as letters, numerals, catchwords, symbols, ornaments or alphabets;) please refer to section 14a) for resale. Fonts used in digital download artwork must only contain static images (i.e.; jpg, gif, png, tiff and pdf) or outlined/vector-based files (i.e.; EPS, SVG) and may NOT include the font file in the download or as a resource for the end user.
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18. FONT ALTERATIONS and/or DERIVATIVES You may modify the vector or raster outlines of an LW Font you’ve licensed using an editing program such as Adobe Illustrator® or Adobe Photoshop® to alter the font glyphs for personal or internal business use only. You may not make alterations or digital derivatives (such as exporting the font, or a derivative, altered variation of it in any file format) for distribution. Any derivative works created by you which
use or are based upon the font software and/or the designs of the fonts (including, but not limited to, software or other electronic works) are the exclusive property of Laura Worthington and shall be subject to the terms and conditions of this license. Derivative works may not be sublicensed, sold, leased, rented, loaned, or shared.
If the Font Software contains embedded bits that limit the capabilities of the Font Software, you may not change or alter the embedding bits with the exception of Unicode re-encoding for personal use. Font Software may not be used to create or distribute any electronic document in which the Font Software, or any part thereof, is embedded in a format that permits editing, alterations, enhancements, or modifications by the recipient of such document. If you have reason to believe that a recipient of an electronic document possesses the capability to edit, alter, enhance, or modify such electronic document even though you have distributed it in a format which does not permit such editing, alteration, enhancement, or modification, you shall not transmit such document to such person.
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Laura Worthington’s website is located at http://www.LauraWorthingtonDesign.com
March 4, 2019