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Are you agree with the "one person foundry"
Industry? or is not easy at all to starting as one? No, i guess...
I know that the union makes the power, what you think?
I need Coffee, a computer, to buy Fontographer,
check the credit card stuff, Web publicity...
And nice font ideas..
We recently released U8, a new typeface designed by Anton Koovit that has taken him through the Berlin subway system to research the signs used on the line 8 (U-Bahn 8 = U8 as it is called in Berlin).
Below is the slightly more formal presentation text, as well as some images.
Also note that all our typefaces can now be downloaded in trial versions.
Don't hesitate to give them a try.
We are very pleased to present the latest addition to our growing collection of retail typefaces: U8, a new geometric sans serif, with seven weights, designed by Anton Koovit.
Anton started U8 as a research project about the Berlin subway system signage and particularly the U8 line that connects the northern borough of Reinickendorf with Neukölln in the south of the city, through the Alexanderplatz junction. His goals were to restore a piece of history, research a link between the DIN and Bauhaus, and translate the lettering of individual handcrafted station signage into a formal typeface. Apart from the regular weight’s upper and lower case, glyphs such as numbers, and other weights, had to be created by the designer, allowing for his contemporary interpretation. The result is an early modernist typeface, with wider proportions than most common geometric sans, a strong character, and a clean design. Initially intended for display purposes, U8 has proven to work well in text sizes. The typeface comes with a full character set for western and eastern european languages, and a number of OpenType features such as ligatures, smaller figures for text, tabular figures and fractions. Italic styles will also be released in a few months.
Astype releases new stencil fonts: Vtg Stencil Germany No.1
The Vtg Stencil series of fonts from astype are based on real world stencils. The Germany No.1 design was derived from authentic antique German stencil-plates.
Surprisingly these stencil-plates offer a high contrast Didot design very similar to the French stencils produced and sold till today. The production time of these stencils is in the range of the German imperial period (1871–1918). Of course the usage period was even longer.
The font styles »Paint« and »Sketch« include 4 additional variations of base glyphs and figures. An extensive random function will mix the glyphs as you type - on proper OpenType-savvy apps like Adobe InDesign.
All styles offer an extended Latin character set.
NOTE TO THE ADMINS: Now all links working - please delet the previews post. Thank you.
I made a small website with my type work called R•TYPE.
Check it out at www.r-typography.com
Does anyone know when Matthew Carter's Yale Design Roman will be available to the public?
I'd like to announce the release of my latest type family, Quantico. Quantico is an angular typeface family that was inspired by old beer packaging and military lettering. It utilizes 30 degree angles and completely straight lines to form unique character shapes. Equally at home in text or display settings, Quantico includes 3 alternate characters as well as several ligatures.
And don't forget to stay tuned to my latest efforts via www.madtype.net and my recently implemented blog.
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Dez Squeeze Pro is a display family in seven bold widths. Choose the width that fits the space available for your headline. Dez Squeeze Pro is a very bold display face with multiple language support, nearly 600 glyphs, stylistic sets, Unicase, and many alternates. Dez Squeeze Pro is Bold enough for knock-out photographs, so go ahead, knock yourself out.
Currently on MyFonts but other places soon http://www.myfonts.com/fonts/dezcom/dez-squeeze-pro/
Just to say I've put up a web site to showcase personal
illustration and animation projects. The site also has a
'Found Type' photo section and links to my retail typefaces.
Any constructive feedback, positive or negative,
would be much appreciated.
February 6, 2007
Yes– new fonts from Fountain!
We're back. We have typefaces. Fine, fine typefaces. Lovely precious typefaces. We want to present them to you:
A happy, springy display face with an extra 30 dingbats.
Direct link: ( http://www.fountain.nu/catalogue/jalapeno.asp)
An expansion of Borgstrand. Two cuts - one with rounded corners, similar in flavor to the original typeface. The second "cut-out" version is specifically tuned for stenciling in the real world - since it has been designed to be cut out.
Direct link: ( http://www.fountain.nu/catalogue/borgstrand.asp)
Both typefaces designed by Martin Fredrikson.
Eason evolved from Nicolas Jenson’s 1470 roman. Jenson has been revived and remixed so many times, conscious decisions were made to transform Eason into a new creation. The postmodern result is very far afield from Venetian Renaissance types, a hard-working choice for the most demanding projects. Designed by Randy Jones.
Direct link: ( http://www.fountain.nu/catalogue/eason.asp)
When creating a traditional typeface, you will be inevitably influenced by earlier designs. Anziano shows some touches of Weiss (Emil Rudolf Weiss, 1926). Bu Stefan has tried to find his own path with Anziano and has made a typeface design that lives on its own.
Direct link: ( http://www.fountain.nu/catalogue/anziano.asp)
We've made small printable PDF's of each of the new releases.
Upcoming fonts with a few words
Gábor Kóthay goes Bauhaus – in all sorts, ways, avriations and forms.
Lucas Magnusson joins Fountain with a revival of famous danish astronomer Tycho Brahe's own fount.
Daniel & Sylvia makes the nicest (and weirdest) pattern/dingbat ever. OP-art springs to mind. I get all dizzy just looking at it.
based on an old airplane logo from the early 30's Göran Söderström not only joins Fountain, but also makes a fanatstic gridbased script. Lotta Bruhn joins in to draw the ornaments.
Take a fast peek in our Fresh/upcoming section.
Direct link: ( http://www.fountain.nu/catalogue/fresh_upcoming.asp)
– We've changed location, and now have a wonderful large office. Images to come as soon as we've gotten organized,and a bit more tidy.
– Small printed specimen of the last few Fountain releases coming real soon.
– Large book/catalogue with many nice pages later this year. As soon as all fonts has been transformed to OpenType.
– Restructuring of website, due before the end of fall.
Tills vi hörs igen – simma lugnt!
Peter W. Bruhn, principal designer & owner
The third issue of Building Letters — Tsunami Edition is available on-line. Order now and support those in need.
The third issue of Building Letters is dedicated to Sri Lanka and Thailand, and it features interesting articles by Tom de Gay, Nick Shinn, Max Kisman, Fiona Ross and Donald Beekman. As usual, it contains a CD with 25 free fonts , this time donated by Pieter van Rosmalen, Seonil Yun, José Scaglione, David Březina, José Louis Coyotl Mixocatl, Stefan Hattenbach, Bram Pitoyo, Tomáš Brousil, Richard Kegler, Veronika Burian, Jürgen Weltin and Ludmila Lorenz. All fonts are OpenType and with one exception, they contain glyphs necessary for typesetting of all Latin-script European languages (complete Unicode set Latin Extended A), so you can set Maltese, Welsh, or Esperanto in them; some faces contain special features, alternate glyphs, decorative glyphs, alternative numerals, ligatures, or small caps.
Although the TV cameras are long gone from the places hit by the tsunami, aid is still needed. This is why all profit from the sales (after deduction of hard costs) will be donated to a respected charity Direct Relief International ( http://www.directrelief.org), which will use the money to help those hit by the 2004 tsunami.
The magazine size is A5, it has 64 full colour pages, it is published in a limited run of 1000 numbered copies, and it is on sale now for 35 € (aprox. $43) at http://www.buildingletters.org. Also, the site will publish information on how much money was collected, and finally, it will publish a report from Direct Relief on the use of the donation.
I've been paying alot more attention to licensing agreements since browsing this site! Seems like almost all licences are based on the number of computers. What about corporate ID? Say I'm using Bauer Bodoni in a logo and as a client
We are proud to announce the release of Adios Script
As part of the PDF specimen, the mexican photographer Brenda Dan was invited to collaborate with some beautiful image.
Romantic, decorative Adios Script is one of Alejandro Paul’s most elaborate and technically refined faces to date. Inspired by designs in “how-to” commercial lettering guides of the 1940s, it has been refined and brought into the 21st century through a huge variety of ornate swash letterforms. The lowercase “h” alone offers 43 variants. Hundreds of ornamental ascenders and descenders allow a beautiful interplay of strokes and combinations, while avoiding overlaps or conflicts. Adios Script features a mind-boggling 1,470 characters in total, in OpenType format.
Veer just released a very nice slideshow
8th Avenue.Named for the street I lived on in my home town... 7 blocks from the creek and 2 from the deep dark woods.
if you dont know the CC-system at all, here is the wikipedia-entry about it.
i plan to release on of my fonts for free (its just a headline-font with a sovjet touch, not mouch really). but i dont want any a**h*** to be able to get profit out of it. so im comparing different possibilities.
i dont have a lawyer and wont pay a lawyer to write me a good EULA, so i have to rely on already written stuff. so creative commons came to my mind, i read about it earlier.
has anybody of you experience with this? is there another good way you found out working for you?
OverKill. Is it too much? Is there such a thing as too heavy? I just wanted a type face to fill the space and pretend to be legible. It is great for banner headlines and sale ads (like we need more of those). I created it initally as a font with characters that had space to fill. Could be too much for folks...
Available at Myfonts...
The rather upright geometric design of the monospace font is contrasted with the very vibrant, playful italic.
Schriftgetaltung.de [german, Typedesign] is a small foundry that published fonts by Georg Seifert and offers a platform for friends to present their own fonts.
This is a questionaire to all the graphic designers and layout artists that actually use and purchase display fonts:
1) Do you ever purchase fonts before you know what (paying) project they will be applied to?
2a) Are you more inclined to purchase where you see a large family of weights, styles and cuts available?
2b) If so, do you prefer to purchase them all in one?
Are the following important when deciding between fonts:
3) International accents & alphabets (European, Greek, etc.)
4) Alternate characters (swash '&', ornamented letters)
5) Additional glyphs (archaic letters, dash suites)
6) OpenType "typographics" (alt. punctuation for caps, smart fractions)
7) OpenType "neatos" (random alternates, automated ligatures)
8) What other features strongly affect the decision? Price? Support? License choices? Anything else?
What should you do about these things:
1) Is it legal and within my rights to send fonts to the printer when the job goes to press?
2) If a client sends you fonts on a disk for a job that a previous studio created is it legal to use the fonts?
3a) If a designer buys a font to use for a particular client does that client have the right to use the font?
3B) If a designer buys a font to use for a particular client does the designer have the right to use the font for a different client?
4) How do most design studios manage their font licenses?
There's been much discussion in the UK press about the new Th symbol proposed by Australian inventor Paul Mathis as a substitute for the definite article (the). I've included a glyph for this in my latest font - Dynatron - just released on MyFonts. I've also included a version - Dynatron Mathis - which allows users to access the Th symbol in one stroke using the seldom used grave symbol (`) on the top left hand of the standard American and British keyboards. What do you guys think? I'm aware that Dynatron is basically a display face, and the utility of the Th symbol is mainly for texting etc., but you've got to start somewhere!
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DULUTH, MN - Michael Browers, a Duluth based designer, announced today that he has entered into an agreement with MyFonts.com, a font distributor based in Cambridge, MA, for the distribution of his typefaces online. Michael’s first two font releases are Formasi and Isoglyphics.
Formasi, Azeri for "Form of," resulted from the concept of a civil war between serif and sanserif. Formasi is intended to be the result of the aftermath of such a war.
Isoglyphics was initially concepted as a rip on Otto Neurath and the resulting movement towards icons as visual language. However, the final design evolved into visual commentary and satire of contemporary culture through the resulting 94 icons.
The fonts may be purchased online at http://www.myfonts.com/foundry/michaelbrowers/.
Michael Browers is the Graphic Designer/Project Manager for Ikonics Corporation. Additionally, he offers freelance logo and type design. More information about his work can be found at
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30% off for a limited time! :)
We've released several new fonts in the past couple of months, so I thought I'd issue an update.
The most recent releases at The Scriptorium include Rasael (a lovely script), Rockne (a somewhat psychedelic design), Agravain (a lovely pen hand font) and tomorrow we're releasing Red Star which is based on Soviet era poster lettering.
A little bit of everything. Come check out the new fonts and the updated site design at fontcraft.com.