Smb Logo Font
Claudio Davey
Myriad Pro is very, very close to the official Splunk branding font. But acharlieh's point is important: if you are creating something that will look like Splunk branding and will be distributed beyond the personal hobby level, you should proceed with caution, because Splunk branding belongs to Splunk.
Looking at a Splunk 6.0.6 installation that I have handy, inspecting the "logo" on the front page you can see that it is in fact text, with a font family of "Splunk Icons" which happens to be served up at /en-US/static/fonts/splunkicons-regular-webfont.woff
Looking at this font, it looks like a base font was taken, and glyphs are overridden to give what is needed, and it doesn't really seem to be a unified font at all. (at least the splunk letters are different than the base font as you can see here):
Now the other font that is embedded in the page and seems to be the font used most other places is called Roboto. Maybe using this font might give you some of the style that you're looking for? Or you could try running the logo through something like What the Font! and see if you could get another approximation.
Edit to add: Do be careful in designing your newsletter. While we all love Splunk, and want to show how cool it is, your newsletter should be abundantly clear at a glance that you're a Splunk Enthusiast and not an employee of nor representing Splunk, Inc. themselves. IANAL but the more the line is blurred here the more trouble and headaches you might risk.
Okay, i have to say it !
your Widget is AWSOME, i used it for loonnngg years with my first smartphone, i simply loved how much we can personalize the widgets to suit our exact idea ! (and the battery bar in barcode is just super cool !)
A single tap on the Fairphone logo opens up this forum.Tapping the date will open the calendar, the clock will open the clock (surprise ) and the battery symbol leads you to the power consumption overview.
The Bodoni typeface surfaced during a time when typeface designers were experimenting with the contrast between thick and thin type characteristics. Giambattista Bodoni took that experiment to an extreme, creating this dramatic font. It has resonated through time in famous logos like Vogue and Calvin Klein and is a great font to consider for mainstream fashion brands.
Garamond is more of an umbrella term for typefaces than a single typeface. Many of the iterations we see in recent decades are interpretations of alphabets designed by Claude Garamond and Jean Jannon in the 16th century.
Coming from Nunito, a balanced sans-serif typeface superfamily, Jacques Le Bailly created Nunito Sans as an extension and fresh alternative to one of the most popular sans-serif fonts in the Google Font Library. Nunito Sans goes along with Montserrat, Theano Didot and Abhaya Libre. Its high x-height (the distance between the baseline of a line of type and the top of the main body of lowercase letters) and short descenders (lowercase letters, such as g and y, that extend or descend below the baseline) grant an approachable display.
Before Didot became known as a typeface, it was the name of a family composed of French printers, punch cutters, and publishers in the late 1700s. They created many versions of Didot, one of which is used in the Giorgio Armani logo. Similar to Bodoni, the high contrast in line thickness creates drama. This font is also commonly seen in the fashion world. Didot works best when used simply, with careful kerning and high-contrast colors.
Modesto has a very interesting history of use from 19th and 20th-century circuses to hand-painted typography. This digital iteration takes those analog forms and perfects them into a usable type family containing 23 fonts.
No font list would be complete without a stencil typeface, and Revista is an exceptional example. It brings the elegance of a classic serif face and merges it with the utility of a stencil font. The broken letter forms lend a down-to-earth, DIY vibe and make a fashion-oriented font accessible to everyone.
Uruguayan designer Fernando Diaz wanted to create a font that could be used simultaneously for long and short text without affecting legibility. Fenix was created. This serif typeface is inspired by calligraphy, and offers the chance for elegant readability in larger texts. It has rough strokes suggested from both sharp and edged curves. Spatial proportions are thoughtfully designed to save space in height and width. Fenix STD works well with Dosis, Open Sans, Raleway, and Exo.
While Baltica fits the criteria for a slab serif, it looks very similar to a simple sans-serif. The slabs are bracketed and of different widths from the letterforms, which is unusual for a slab-serif. These qualities are ultimately what set Baltica apart, giving it a signature look.
London-based designer James Barnard set out on a design journey: to create his own one day build (ODB, or phonetically oh-dee-bee), and complete the entire character set, numbers and the basic glyphs in 24 hours. The result? Odibee Sans (get it?). This ambitious and bold project speaks for itself, and works harmoniously alongside monospace and handwritten fonts.
Bowlby One SC proved that a font can be both utilitarian and decorative, taking forms to create a design from scanned and co-mingling 20th-century type specimens. During this particular era, there was a shift in typography identity to favor monumental style. Type itself then became a much more competitive business.
Alfa Slab One is a fresh take on the Six-lines Pica Egyptian Robert Thorne created for the Thorowgood Foundry in 1821. The difference between the two is that Alfa Slab One was designed to be heavier. Just to name a few details, it has extreme stem weight, big serifs, more stem contrast and gradual terminals. Thicker and bolder fonts are great attention grabbers. Pair together with a thinner, smaller serif font, like Nixie One, to bring out that most important bold.
Advent Pro is an edgy display font that utilizes the distinct universal characteristics of the sans-serif genre but has created its own modern characteristics. Combine it with Caveat for an effortless balance of familiarity and friendliness.
Futura might be one of the most successful and most used typefaces of the 20th century. The unusual, geometric letterforms project an optimistic modernism. The style is reflective of the radical artistic experimentation in Germany at the time, especially at the Bauhaus art school, whose values revolved around functionality and order. They also believed that the individual artistic spirit could coexist with mass production.
Yvonne Schttler, the designer behind Krona One, was inspired by hand lettering on early 20th-century Swedish posters. This sans serif font is done in a low-contrast, semi-extended style, which makes it super-readable, memorable and attractive on either a small or larger display.
Bauhaus and its many iterations are reinterpretations of the forgotten 1925 font Universal. The typeface ITC Bauhaus takes inspiration from Universal and builds on it with the inclusion of upper- and lowercase characters and an overall refinement. The strokes are all the same weight and evenly geometric, yet somehow wacky in their swooping curves and slivers of negative space. The font has a retro feel and is perfect for logo designs looking to capture an old-school feel.
Exo was born in an attempt to convey a technological and futuristic vibe. Natanael Gama designed the sans serif typeface to further his own research into typography. Geometric, contemporary and masculine-leaning, Exo was meant to be incredibly versatile and thus works well for most sizes.
Neville Brody created this font by processing an iteration of Akzidenz-Grotesk through the Photoshop blur filter three times to create the three corresponding weights. The result is not particularly readable, but it does have an exciting look that was especially groundbreaking to those working in the early 90s.
Horizon takes inspiration from the typography used in the original Star Trek series. Quite fittingly, this font was used 21 years later in the film Star Trek: Into Darkness. In keeping with the digital experimentation of the 90s, Horizon has a space-age look with sharp, unexpected angles that were achieved sharply with digital tools.
FF Din was created for the foundry FontFont by Erik Spiekermann (also the creator of FF Meta) and ended up becoming their best-selling typeface. It modernized san-serif design by extending circular elements into geometric ovals, cutting off letterforms in unexpected (but pleasing) ways and creating nuanced curves through advanced geometry.
Neo Sans has become somewhat of a touchstone for sans-serif typefaces with curved corners. It was one of the first typefaces to use the technique in such a subtle and sophisticated way. It decreases the intensity of the font and creates a friendlier energy.
According to the designer, Proxima Nova is a font that bridges the gap between fonts like Futura and Akzidenz-Grotesk. Based on a broad spectrum of typography styles, a bridge between those extremes was welcome.
Veronika Burian (also one of the collaborators on the font Foco) is truly worth highlighting for her work on Tondo, one of the early fonts to take rounded corners to an extreme. The result is cute, fresh and healthy, which may be why it became part of the branding for the London marathon.
Brandon Grotesque stands apart from other sans-serifs with its low x-height, a characteristic that gives the typeface a certain compactness and warmth. Some of you may recognize it from the Comedy Central branding.
Amsi brings the classic 1900s Block Berthold typeface into the present by utilizing the subtle corner rounding of typefaces like Neo Sans and adding three separate weights ranging from very thin to very thick.
I was wondering what's the name of the font used for the Rust logo ? I must admit I don't like the logo very much so I'm having fun imagining new concepts (I know the logo won't change, it's just for fun), and I was wondering what I could come up with, with the actual font of the current logo.
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