All articles 4900

I'm looking for some alternatives to DTL Argo. Argo has the right humanist and contemporary sans feeling, but the cost is too much (the euro/dollar conversions are NOT helping matters). So, anyone have suggestions?

Thanks!

Neville's conversion to the mainstream is now complete... :-)

http://www.prnewswire.co.uk/cgi/news/release?id=184449

I have come across ITC Blair font, but was wondering what serif would go well with this font?

While there seems to be many fine books written on the practive of metal typesetting and how these types were made, are there any handy references regarding photo type settting and new type practices of the late 60's, 70's through mid 80's? in a nutshell, everything that wasn't metal type setting and before the digital days of the late 80's

Hi, I'm a university student and have been recently been given this typographic project to do titled 'Difference'. I felt the subject was ideal for a forum discussion and figured posting it would generate good views on the subject from others.

Project Brief:
Produce a logo, 8 page exhibition brouchure and three panels for an exhibition in the Campus foyer which looks at the conflicting views of designers reguarding the use of personal style in the generation of communication design work. The debte was very much in evidence in the early 1980's with the increasing use of technology in creative production but it has been an underlying issue in the way designers have always worked. Your approach should be objective in illustrating the philosophies of both camps but stimulating enough to interest those who may not be aware of the difference in approach. As a major element of the exhibition is concerned with the role of type in design the final pieces should focus upon the application of type as an expressive medium with imagery forming an effective complement.

I'm not so much looking for ideas for my outcome but was more interested in others views on the debate topic. If your not too aware of the debate here's a link to an article about it, though its from more of a web design point of view but the idea is still there www.adobe.com/designcenter/dialogbox/stylevsdesign . I was hoping by posting on this forum I would be able to get perspectives from more of a typography stand point (I figured this forum would be a good source of views of typographers with much better experience/knowledge than myself). I look forward to any replies. Thanks

The Best Hundred of All Time

• Helvetica
• Garamond
• Frutiger
• Bodoni
• Futura
• Times
• Akzidenz Grotesk
• Officina
• Gill Sans
• Univers
• Optima
• Franklin Gothic
• Bembo
• Interstate
• Thesis
• Rockwell
• Walbaum
• Meta
• Trinité
• DIN
• Matrix
• OCR A und B
• Avant Garde
• Lucida
• Sabon
• Zapfino
• Letter Gothic
• Stone
• Arnhem
• Minion
• Myriad
• Rotis
• Eurostile
• Scala
• Syntax
• Joanna
• Fleischmann
• Palatino
• Baskerville
• Fedra
• Gotham
• Lexicon
• Hands
• Metro
• Didot
• Formata
• Caslon
• Cooper Black
• Peignot
• Bell Gothic
• Antique Olive
• Wilhelm Klingspor Gotisch
• Info
• Dax
• Proforma
• Today Sans
• Prokyon
• Trade Gothic
• Swift
• Copperplate Gothic
• Blur
• Base
• Bell Centennial
• News Gothic
• Avenir
• Bernhard Modern
• Amplitude
• Trixie
• Quadraat
• Neutraface
• Nobel
• Industria, Insignia, Arcadia
• Bickham Script
• Bank Gothic
• Corporate ASE
• Fago
• Trajan
• Kabel
• House Gothic 23
• Kosmik
• Caecilia
• Mrs Eaves
• Corpid
• Miller
• Souvenir
• Instant Types
• Clarendon
• Triplex
• Benguiat
• Zapf Renaissance
• Filosofia
• Chalet
• Quay Sans
• Cézanne
• Reporter
• Legacy
• Agenda
• Bello
• Dalliance
• Mistral

Are retail fonts a form of consumerism or a way for designers to work free from the constraints of a commission?

Here's what Nick Shinn wrote in Issue 6 of the Graphic Design Journal published by the Society of Graphic Designer of Canada in 2006:

I mean look at this. These industrial revolution era fonts were designed by foundries which by then were independent of printers and publishers and used in the most commercial ways. They are more interesting to us today than the commissioned Times New Roman.

What do you think of retail fonts?

I know that the topic of appropriate fonts for code has come up quite a few times on Typophile. I spend a good portion of my time in code of one kind or another, and find myself using mono width fonts very infrequently. To many programmers, it's a heresy, but I can't really see any good reasons to use mono-width, except when the output depends on uniform character widths for formatting like in the shell.

Are there any other variable width programmers out there? What types do you use? I usually use Verdana, because it's pretty unambiguous on the screen (particularly the braces/brackets/parens).

Apologies if this has been posted already, I have been away...

http://www.newstatesman.com/staggers/2013/04/new-statesman-go-back-futur...

I want to use a bold sans serif. I've been working with Franklin Gothic in heavy and book, because it has a really friendly personality. I just want something with radius corners instead of sharp corners. I've been searching pretty carefully but everything is either too stylized or retro or playful. I'm just looking for something simple and sophisticated that looks wholesome and good-natured.

Thanks in advance for any input!

Now that I've been reading this amazing site for about a year I'm finally making my first (official) post.

I am a graphic designer from Helsinki, Finland, and increasingly enthusiastic about type.

Here is something that suprised me today:

Aoccdrnig to a rscheearch at an Elingsh uinervtisy, it deosn't mttaer in waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is taht the frist and lsat ltteer is at the rghit pclae. The rset can be a toatl mses and you can sitll raed it wouthit porbelm. Tihs is bcuseae we do not raed ervey lteter by it slef but the wrod as a wlohe.

Some on this list might be interested in the article I just wrote for The Magazine about the typography of ebooks and design for the screen – or rather, for a plethora of screens:

http://the-magazine.org/13/unbound-pages

Although The Magazine is subscription based, non-subscribers can read the full text of one article a month.

John

Č and đ

Reference:
Konzumirati ohlađeno.
Čuvati od dohvata male djece.

I'm working on a European product label with 4 languages slapped on there. The corporate font is Helvetica Neue, but the Desktop Publisher is telling me I have use Myriad Pro due to it's support of this specific language (Bosnian, I think)

Any tips would be helpful. I'm inclined to hire a typographer to make these characters for us if they don't exist...

Of round about 50 OpenType Features Adobe InDesign CS2 supports about 16. Does anybody know if the planed InDesign CS3 release will support more?

/* Vertex */

Hello i am in my final yea of University.. and studying graphic design...
i hope to continue with this city map series when i finish......i hope i can post this here...

here are some of the images...of maps i have done so far..

New york (my first linocut)
http://www.flickr.com/photos/markandrewwebber/2258516606/in/set-72157603...

London (commisioned by ISTD for my city my London)
http://www.flickr.com/photos/markandrewwebber/2258521132/in/set-72157603...

Amsterdam (for a college project in which i could do what i wanted, so i really wanted to carry on with the series so had just been to amsterdam and loved the look of the map.. so carved it)
http://www.flickr.com/photos/markandrewwebber/2258526982/in/set-72157603...

yea i have more pictures but you can scroll through the sets for them!...

im going to be doing Paris this summer.

kk cheers!.

Dear Typophiles,

I'm wondering whether it is possible to teach Indesign CS2 the actual DPI-value of my screen, so it displays an object that is 10cm wide as 10cm in 100% Zoom. At the Moment, I have to zoom to about 130% to get an 1:1 equivalent, which is not very handy...

I remember Xpress 4.0, where this was possible, so maybe Indesign can do it as well? Changing the DPI-value on system level (Windows) doesn't seem to change anyting.

Thanks for your help
Sebastian

Ran across this blog post from Adobe this morning and thought it was really fascinating, great read on the history and development of the Adobe branding for their desktop apps:
Reinventing the System: The New Adobe Desktop Brand

(also appears to hint that we'll see CS5 very soon)

Hello all,

I have recently noticed the lack of professional quality fonts available under open licenses here that are of any professional value.

Apple and Microsoft may have the money to license typefaces from other groups, or pay to have typefaces developed for them, but a community-built operating system depends on the community to contribute each in their own little way.

I am looking for any open fonts on a professional level, there are a couple already like Gentium, Bitstream Vera out there, which is a great start.

Are there any more freely available and freely redistributable fonts you're already aware of?

I urge all of you who benefit daily from open-source technology (Firefox, Openoffice, even Typophile is hosted on a linux server) to consider contributing some of your work towards the community that has provided you with so much software.

I am looking to build a package of only the highest quality typefaces under a free licenses and make that available for download on my site related to Linux and Design, but they would be valuable to people on all operating systems.

Also, the availability of professional alternatives might help even just a couple from pirating or stealing those fonts type designers sell to make a living. hopefully together we can give the community something valuable, generate more interest in good typography and at the same time help support those commercial designers who rely on font sales.

And lastly, by releasing one font for free with credit to a group of open-source users who desire fresh new fonts, you can direct traffic to your other reasonably priced fonts and this will more thank likely channel an entire new market of clients that are currently not buying your fonts.

I am looking for a serif type face that is slightly condensed or half condensed.

Up to now I have been using ITC Garamond Condensed or Times New Roman Condensed. I feel the readability is jeopardized with these condensed faces when a certain amount of copy is required.
I know that I can use regular book text copy and drop a point and use tracking to achieve a copy fit but would rather use a slightly condensed serif text face if there is one available.

I have searched around but have not turned up any suitable face.

The copy is usually for marketing brochures and I try to get the client to cut copy but there are times I just have to go with what is supplied.

Thanks for any suggestions.

HI, i'm searching for www.three.co.uk - Verona, Modena font, where can i find?
thank you

Found on the Letpress mailing list

Fournier, Manuel Typographique, Tome I on google books.

Neat new article on PingMag about assorted calligraphic styles on sake bottles:
http://www.pingmag.jp/2007/01/31/packaging-design-japanese-fonts-sake-bo...

I came across a strange thought of kerning in real life. I was thinking where else can we find kerning beside type? And saw we use kerning eveywhere. It's just called differently. One name for it in real life would be "double measure" when you apply different principals/acting/behaviour/etc. with different ethnicity/gender/etc.

Can you come up with kerning in other areas of life? Mechanics perhaps? Other professions?

Seeing that kerning exists eveywhere made me think why the **** did they name it "kerning" in type design?

I was just reading another thread where someone mentioned that their interest in typography began with a particular cover of a book. This got me thinking about where my own (though relatively recent) type fixation came from and why i now spend far too many hours reading typophile posts..

So as a bit of a friday afternoon diversion, would anyone be interested in posting about the incidents, specimens, book covers, articles etcetera that kicked off their own obsession?

i'll go first, i suppose -- strangely enough it was a note about the type at the end of tim burton's twisted illustrated book of poems "The Melancholy Death of Oyster Boy" which was set in Goudy's Scripps College Oldstyle. It said that Goudy himself had remarked that the type was without any 'freakish characteristics' which i thought played off of the mildly disturbing poetry brilliantly. It also made me sit up and think "hey wait a sec.. that font didn't come with my computer.."