Lexon Gothic™ Font

aesthetic
0 Styles
František Štorm
Kind words and forgiveness are better than charity followed by hurt
0
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Best usage: Headline, Logo, Display
a
LOGO
No one shall be subjected to arbitrary arrest, detention or exile.Everyone has the right to freedom of thought, conscience and religion; this right includes freedom to change his religion or belief, and freedom, either alone or in community with others and in public or private, to manifest his religion or belief in teaching.
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Example

48pxKind words and forgiveness are better than charity followed by hurt
36pxKind words and forgiveness are better than charity followed by hurt
32pxKind words and forgiveness are better than charity followed by hurt
20pxNo one shall be subjected to arbitrary arrest, detention or exile. Everyone is entitled in full equality to a fair and public hearing by an independent and impartial tribunal, in the determination of his rights and obligations and of any criminal charge against him. No one shall be subjected to arbitrary interference with his privacy, family, home or correspondence, nor to attacks upon his honour and reputation. Everyone has the right to the protection of the law against such interference or attacks.
16pxEveryone has the right to freedom of thought, conscience and religion; this right includes freedom to change his religion or belief, and freedom, either alone or in community with others and in public or private, to manifest his religion or belief in teaching, practice, worship and observance. Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers. Everyone has the right to rest and leisure, including reasonable limitation of working hours and periodic holidays with pay.

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Details

What is the Lexon Gothic™ font?

Lexon Gothic is a typical newspaper, dictionary and magazine type face. It is also very suitable for children’s books and posters. The large x-height, condensed shapes and darker colour of the basic design guarantee its legibility already in small sizes and even in morning twilight. The line is bitten into the surface by the marked "slippers"of the letters. The lower- case letters have flattened upper and lower limbs, just like in letterpress. Their bellies are quite round and their knees are lightened by slight incisions. The type face is rather archaic in expression and its italics are dynamically flamboyant. The “juicy” design of the alphabet is achieved by strengthening the elements of variety, sometimes even in exaggerated form. More… When reading newspapers, we are interested in the surface of things, in their, as far as possible, unbiased description. We forage for arid facts which do not require our spiritual or emotional participation. That is why the type face must be neither dull nor expressive, but absolutely huckstering. For - seen from the other side - if we are publishers, we sell information, or else merchandise just like any other. The type face is its packaging, its outer form which here has all manner of functions except for the aesthetic one. The apparent proportional disharmony between the upper-case and lower-case letters is a question of habit. The view that the upper-case and lower-case letters must have the same width proportions is prejudice. On the contrary - the history of type faces enlightens us on the fact that the two alphabets did not have much in common. To prove this it is sufficient to look briefly at their forms - we will find out that only 8 out of 26 pairs of letters resemble each other and, moreover, the ones which do are less frequent in the text. The bold design does not need serifs, because the upright finial of the wide stroke already sits well on the surface. Moreover, the sans-serif bold design better sets off the basic, more picturesque design. Both sets of italics have non-aligning figures, so that in a small number of designs we have everything that is required of a dependable type face which is not exactly intended for the setting of poetry. The design called “Headline” has sharp edges in place of hidden serifs and is darker, which predetermines it for use in headlines. The complementary SC & OSF will be welcomed when we design headings, by-lines and captions to illustrations. An original newspaper type face must also create an impression of uninterchangeability of the typographical appearance of the periodical, but not to the detriment of legibility and technical reliability, even when printing on bad quality paper. Under such conditions there is nothing worse than a banal type face of fragile strokes. A newspaper type face should be original and uninterchangeable in order that the subscribers might feel a certain “snugness” in the pages. An original type face also extricates the printed matter from the omnipresent graphic anonymity and endows it with a more intimate character.

Lexon Gothic™ Font families

The Lexon Gothic™ includes the following font families: [font-families]

Lexon Gothic™ Preview

Here is a preview of how Lexon Gothic™ will look. For more previews using your own text as an example, click here.
Font NameLexon Gothic™
Design Date13 Feb 2025
Designer(s)František Štorm
PublisherStorm

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