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Introducing " FinFang"!
The latest creation from
!Exclamachine Type Foundry:
FinFang Regular, a wild display face with 350+ characters, including your favorite array of accents, suited to international application and loaded with handy advanced symbols and punctuation.
Available now from MyFonts!
NEW: Follow !Exclamachine on facebook.
i've just released AndrijScript Cyrillic.
it bases on my own handwriting, fascinated by historical Ukrainian 'skoropys' quick-writing and spiced by few chimeric shapes and unusual Cyrillic ligatures.
welcome see few pictures on http://type.org.ua/andrijscript-cyrillic/
or test-drive on http://new.myfonts.com/fonts/andrijtype/andrijscript-cyrillic/
TypeTogether is proud to announce the release of Etica, a strong yet delicate sans serif.
Etica, the-moralist-typefamily-project, was born at the end of 2000, but its development is ongoing, overcoming many hurdles and diversions. On one hand, the original idea was spurred by a certain esteem for Helvetica, in particular, its strength and versatility, and on the other, an intolerance to its plenty but inadequate applications; created by those who erroneously consider it to be a neutral and timeless design.
We believe that Helvetica is a beautiful typeface, but very deeply rooted in its own era. It is often unsuitably used in contexts that have changed profoundly since its birth. From this initial intention, we coined the ironic payoff ‘The-Moralist-Typeface’.
The challenge was to obtain the same force, versatility and colour that are, from our point of view, Helvetica’s greatest qualities. The same proportions have been maintained, albeit with slightly reduced letter width. The resulting design has soft strokes, open counters and terminals; aesthetically resting somewhere between a grotesque and humanist sans serif. It successfully combines masculine force with female delicacy.
Etica’s wide range of styles, together with a large character set and OpenType features, such as 4 sets of numerals,
fractions, several stylistic alternates and a set of arrows and dingbats, allows for a vast variety of applications, be they editorial or corporate.
Hello fellow typophiles.
I'd like to show my new release. It's a sans called Gesta.
Gesta is a friendly versatile sans serif typeface suitable for corporate and editorial purposes.
With its generous x-height and slightly curved strokes, Gesta combines a distinctive and warm feel with a modern look.
It is available in four weights from light to bold with four matching italics and its OpenType features include small caps and old style figures for every weight.
it is available at MyFonts. http://new.myfonts.com/fonts/r-type/gesta/
I would also like to thank Typophile and the typophiles for your help.
This where I got help and great suggestions: http://typophile.com/node/53140
I'm not sure if this is the correct forum for this, but it seemed related.
I was asked about a font by our licensing department today by the name of CAC Pinafore. I looked all over our fon servers and found nothing. I looked it up on the web and several free font sites had it listed and by American Greetings (my employer). We don't give out our fonts. I enquired in-house a little further and found a list of licensed use only fonts with the CAC prefix. These are versions made especially for use with a particular client. Apparantly someone got copies of these fonts and just downloaded them to Free Sites.
None of the free sites seemed to offer links to the originators and the zip file only contained the font and no read me file. I don't really have time to keep chasing this down as its not really part of my job, but I am curious if any of these free sites keep records of who uploaded the fonts to begin with. Has anyone else pursued this type of thing before.
Greater Albion's latest release is Absinette,which takes us straight back to 19th century France. Its a decorative family of Roman faces in three widths as well as a more elaborate inline style, ideal for posters with an Edwardian or Victorian theme. Here's a quick preview image:
More samples of Absinette in action can be seen at Greater Albion's blog
Absinette released via MyFonts.com.
EAU CLAIRE, WI – March 24, 2010 Font Diner, Inc. ( www.fontdiner.com), a leading retro typography design firm, has announced the revival of the historic Lettering, Inc. font library created in the 1930s through the mid-1970's.
Founded in 1939 by Edwin W. Krauter of Chicago, Lettering, Inc. produced its own patented Photo-Ray process of lettering (US Pat 2165861) in which transparent letters made from original alphabets were assembled by hand and then placed in a line (angled or curved if so desired) and then photographed. This "glass setting" process created flawlessly set headlines and, with multiple character forms to choose from, the headline looked authentically lettered.
An early competitor of Photo Lettering, Inc, they employed such notable lettering artists of the time as Oscar Ogg, Ray DaBoll and Ray Baker, among others. At its height in the late 1960s, Lettering, Inc. had as many as 14 franchises operating in the US and Canada and was continually producing new alphabet designs. As the market changed and computer technology evolved, Lettering, Inc. became less of a supplier of type to the ad agencies and became more involved as a supplier of high-end graphics and type to the big Detroit auto makers. Today, from its Southfield, Michigan office, Lettering, Inc. continues to provide various graphics services to a diverse group of customers.
Each Lettering, Inc. alphabet was originally designed with nearly 3-4 alternate glyph forms for every character and ligature pair, many with well over 300 latin characters alone. Stuart Sandler, President of Font Diner, Inc. intends to release the Lettering, Inc. library in OpenType format so the original designs can be fully realized with a dynamic feature set including every alternate glyph forms and automatic substitutive ligature as it was designed by the original artists. "We're also thrilled to be working from the original ink drawings on board by the original Lettering, Inc. artists that have been in the Lettering, Inc. archives since the 1930s." says Sandler.
"We are very happy to work with Font Diner to once again make these beautiful and unique typefaces available to the public." says Karin Krauter of Lettering, Inc. "So much of this wonderful collection has never been seen before and we're pleased to honor and revive the work of these highly-skilled and talented lettering artists from the heyday of lettering to be appreciated and enjoyed by modern designers again." explains Sandler.
An illustrated history of Lettering, Inc. is currently being researched and written by Sandler with the assistance of many current and former Lettering, Inc. employees. His work will accurately re-tell the evolution of Lettering, Inc., its founder Ed Krauter and the significant contributions of Lettering, Inc. to the typographic industry. A re-release of the original Lettering, Inc. catalogs is also planned.
Font Diner, Inc.
Stuart Sandler launched the Font Diner ( www.fontdiner.com) foundry in 1996 and has become a major resource for retro design software products. He has created more than 400 original typefaces for the graphic design industry and established a reputation as the premier retro display typography designer inspired by 1950s popular culture. Sandler added a second division to the Font Diner umbrella in 2004 ( www.misterretro.com) that features Machine Wash Image Filters™ and Snappy Hour™ vector images. In 2006, he expanded his corporation again thru a joint venture as publisher of high quality display typefaces at Font Bros ( www.fontbros.com) before beginning his work in the revival of photolettered cold-type with his acquisition of the Filmotype Library in 2006 with over a dozen digital revivals to date.
i'm beginer with font work, but i just trying ..:)
England Font was inspired from scroll letter kingdom on medieval age.
and i trying to explore this characterEnjoy
Available : UPPERCASE , lowercase, Numeric, symbol, Multi language ( TTF and OTF )
FREE : Ribbon, supporting other elements and poster Vector with border (ai,eps,cdr)
Welcome to the second newsletter this year! :)
Half of the releases this time are fonts made by Levente Halmos - a designer from Hungary, and a welcome newcomer to the CheapProFonts stable. The font industry sees more and more new type designers coming from eastern Europe, but surprisingly few of them actually cater for their own home markets by including all the necessary glyphs... CheapProFonts to the rescue! ;)
In this news release I present the following 9 fonts:
- 5 from Levente Halmos
- 2 from Kimberly Geswein
- 1 from Brian Kent
- 1 from myself! ;)
We've had our first real "hit": Danube Pro has sold really well since its release, and actually peaked at 3rd place in MyFonts' Starlets list! At that time CheapProFonts actually had 3 fonts on this top50-list! :)
Business on our own site has also increased, so it seems the public has started to take to the idea of our improved, multilingual fonts. Brilliant!
CheapProFonts is dedicated to supplying high-quality OpenType and TrueType fonts for setting "foreign" languages (languages requiring more than the basic A-Z characters) for professional Mac and Windows users.
Check our site for constant new releases, and see you in the next newsletter!
High quality multilingual fonts at a low price - for professional (non-english) designers with a small budget!
November issue of the Typographic Times:
Interview of Richard Kegler
“I would like to think our fonts open up Design history to a wider audience.”
Portrait of the Czech inspired Preissig typeface
“Preissig’s typographic work focused on the desire to find a true Czech typographic identity by addressing the predominance of diactrics in the Czech language.”
Interview of Ellen Lupton, author of Thinking with type
“I emphasize design as living practice—not theoretical debates, but doing work in the studio. I emphasize the public, communications value of design not inward personal expression.”
Presentation of the Diacritic project of Filip Blažek
“Web pages of the Diacritics project contain an overview of accents used in European languages which use the Latin script.”
Michael Browers announced the launch of a redesign of his website, http://www.michaelbrowers.com. The redesign features his retail fonts, custom fonts and logo & lettering services. Additionally, the website includes a "Fonts in Use" section.
From the 1st of July till 21 September the latest edition (3.7) of DTL OTMaster will be offered with a 50% discount on the standard licensing price of €255.
Version 3.7 contains a lot of new functionality. From the import/export of Ideographic Variation Sequences (IVS) to the editing of feature parameters, and from an autohinter for edited or newly added glyphs to support for COLR+CPAL tables. One can read about all details in Karsten Lücke’s wonderful manual.
Some use OTM for font-spelunking, other use it for Open(Type)-heart surgery. Some use it for compiling OpenType Layout features (directly in the font, or exported for proprietary workﬂows) by applying the elegant automatic subsetting, while others use it for instance for mark (to mark) positioning. OTM is the ultimate Swiss (or actually German/Dutch) knife for CFF- and TTF-based OpenType, TrueType, and TTC (TrueType Collection) fonts.
After months of waiting:
Here is a more comprehensive pdf:
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New from ReType, Medusa is Ramiro Espinoza’s homage to one of the most renowned masters of Spanish calligraphy, Ramón Stirling, who was active in Barcelona during the 19th century. Not much is known about his life, and there is even some doubt as to his real name, but his Bellezas de la Caligrafía (Beauties of Calligraphy) is one of the most exquisite English roundhand manuals ever produced.
The starting-off point in the creation of the typeface was an analysis of the historical models of formal English handwriting and the ways in which those styles had been adapted to the typographic technologies of different eras. A representative example of such adaptations involves the group of letters which, in connected scripts, join from near the top of their x-height, namely “b”, “o”,
“v” and “w”.
Model from The Universal Penman (1740)
Up to now, all typefaces derived from the roundhand have been simplified so that the above letters connect with the following glyphs from the middle of their x-height. Unfortunately, this solution produces an artificial, awkward appearance, far removed from the beauty of the canon of the golden age of commercial handwriting.
Letters typically adapted for typography A more authentically calligraphic approach
Nowadays, the OpenType format affords the possibility of solving this problem. Instructions can be programmed into a font to automatically select the appropriate alternate glyphs as the user types. Despite the existence of this option, no one has yet published a copperplate typeface that is a faithful reflection of historical writing models, connecting “b”, “o”, “v” and “w” in the correct manner. Extra effort is required to program and design the many alternate character sequences necessary, and this has not been implemented by type foundries accustomed, as also are type users, to the familiar faux convention.
At ReType we decided to move in the opposite direction. We didn’t force the shape of hard-to-format letters into the service of technology, but rather resolved to press technology into the service of respecting the original graceful quality of those letters.
Medusa is much more than a mere digital transfer of Ramón Stirling’s model. Several of the original letters, such as “f”, “s” and “z,” whose appearance was somewhat weaker, have been replaced by designs based on Espinoza’s own accomplished pointed nib calligraphy.
In addition, numerous elements lacking in Stirling’s book have been added. The fantastically ornate capitals were redrawn in order to strike a greater balance and enhance the consistency of the set of letters as a whole. Several swashes and ligatures were also created from scratch, but with an unwavering respect for the formal rules of pointed pen calligraphy to ensure that their ductus was correct. Perhaps the most unusual feature of Medusa is its small caps, which have been carefully designed to produce an all-cap setting that is stylistically harmonious with the classic copperplate script, something which has up to now been missing from this genre of typeface.
Finally, we are offering a separate set of modular swashes that enable complex decorative headings and cartouches.
We are pleased to say that Medusa is a complete script system the unique features of which will lend elegance and sophistication to a wide variety of design projects.
Chefscript Typeface - Buy licenses at MyFont
Chef Script is an experimental font designed by Carlos Fabian Camargo G. Its fantasy design contains 1463 glyphs to compose words, phrases and short messages on small and large sizes. The idea was born in a sketchbook that was perfected again by hand and achieving "non-neutral drawings" on tracing paper. With bezier digitization the empty and full parts of letters appeared with soft and eloquent curves as calligraphic result produces optimal readability.
I'm trying to understand the legal issues in using fonts in logo designs and in other ways. I tried searching the forums (and Google) but can't seem to find anything definitive about this.
I read that "fonts cannot be copyrighted" (meaning the letterforms themselves) but that the "programs" (the actual font files) used to control them can. I also read that if you convert a font to outlines, there are no copyright issues at all and the outlines can be used freely since the actual letterforms can't be copyrighted. This sounds a bit bizarre to me. Is it true?
If this is the case, does that mean the paradigm is that you (as a designer) purchase a font so that you can legally use it to create a document (a newsletter for example), then render the letterforms (by printing the document, converting the letters to outlines, rasterizing the document, etc.) so the document doesn't contain the actual font "program" itself so you can freely distribute the document without paying the font's owner any licensing fees?
From what I've read of the court rulings on this issue, it seems the intention was to avoid a situation where a fontmaker could require that a reader purchase a font themselves and own a license to it before they can legally obtain a copy of a document set in it, since that would mean for example that anyone who wanted to read a magazine would have to buy licenses to all the fonts used in it first. That makes sense - if a font owner could do that, it would be like Berol "copyrighting" their colored pencils and saying that anyone who wanted to buy a drawing made with them would have to buy a license to the pencils themselves first. So the letterforms in a font would be like the pigmented "lead" and the font file would be like the wood tube that it comes in. (Hopefully that makes sense.)
So, is this actually true? If it is, does it extend to using fonts in logo designs as well? And if the situation doesn't work this way, how does it work? There seems to be a lot of confusion on this based on the message threads I've been reading.
Burgues Script is the new project of the Sudtipos foundry, based on the ornate lettering of calligraphy teacher Louis Madarasz (1859–1910). As with previous major type releases, we invited some very talented artists to collaborate on the PDF type guide. Thanks to Horacio Lardies, Florencia Kohan, Mariano Lopez Hiriart and Jose Ignacio Fernandez, who illustrated the words that Alejandro Paul designed.
I designed the logo and created the brand (letterhead, business cards, signage, advertising, etc.) for my husband's company. I did this for free and there are no contracts of any sort involved.
His business partner is trying to buy him out of the company. Currently, most of the company's worth is in the brand that I have created.
My question is, who owns the designs? Do I own them since I received no compensation and did not sign anything to release them? Would it be assumed that they were created for use by the company and thus belong to the company?
I would appreciate any guidance you could offer. Thanks!
Hello all! I'm happy to introduce my last two typefaces.
One of them - MOD, is available for free download from HERE.
The fonts are great for tee designs, posters, logos, head titles etc.
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I work with fonts in my spare time.
The most work I do is editing original fonts, but sometimes I make ones.
This my latest release, MF Dots Pro:
This is the second font I've made completely by my self.
MF Dots was done in 2007, containing only Latin. Now I've extended it with much more glyphs. Maybe I post my other self-made fonts also.
You can download a free-for-personal-use beta version from here.
- TrueType format
- 3 weights (Light, Regular, Bold) + Italics
- 653 glyhps per file
- Contains Latin, CE, Greek, Baltic, Turkish, Romanian, Cyrillic and special symbols.
Please rate. :)
Please note, that I'm a beginner in making fonts.
I used Font Creator Program 5.6 for this typeface, so don't expect high detail, OT features, etc. I have some really cool ideas for fonts, but I just don't know how to convert them to real fonts. This simple (dot-based) font I almost the only font you could make with FCP. I have FontLab installed, but don't know how to use it.
May I post some drawings of these fonts so you can give tips how to make real fonts of it?
Thanks in advance, and enjoy MF Dots Pro!
Martijn van Berkel
Off-topic: How do I insert images in my post?
FONTPARTNERS.COM: NEW TYPO-WEBSITE!
This new released fontsite presents customfonts, FontFonts and current typography-news from the two Danish founders and partners, Ole Søndergaard and Morten Rostgaard Olsen, whose designs include FF Signa, FF Max, FF Olsen and others. Fontpartners.com also presents examples of fontdesigns and their implementation, and offers creative and technical solutions within most areas of fontdesign and typography.
Ole Søndergaard studied graphic design at the Royal Academy of Fine Arts, Copenhagen. After working as a graphic designer at an architect's office, he established his own design practice. Ole has also taught graphic design at the Royal Academy of Fine Arts, Copenhagen. Between 1985 and 1995 he was co-founder and partner of Eleven Design A/S, designing signs and signposting systems for banks, office blocks and public buildings in Denmark, Sweden, and the Middle East. He has designed corporate identity programmes, logotypes, annual and environmental reports, brochures, packaging and magazines for Danish and international companies, as well as designing complete alphabets and pictogram systems.
Morten Rostgaard Olsen is an graphic designer living and working in Copenhagen. After five years studing at The Danish School of Art and Design, he now runs a design studio where he supplies solutions for corporate design, typography, and typefaces. He's also become a teacher in all these subjects. Among his clients at home and abroad are The Ministry of Education in Copenhagen, the first user of his typeface FF Olsen.
Morten is a member of The Association of Danish Designers MDD.
Look & Buy: www.fontpartners.com
Although I am aware of the fact that their is widespread piracy of type in the design community, I'm somewhat perplexed on how and who exactly it's done. Is the majority of font piracy done between people who know each other, or anonymously through the internet, or what? And is participation in it limited to students and hobbyists, or do professional designers themselves take part in it? And finally, what venue does the majority of piracy take place through (traditional websites/peer-to-peer networks/ect)?
Just curious, I hope you guys could clarify the whole situation to me!
i belong to another chat group comprised mainly of computer geeks and code cowboys who almost universally oppose the current definition of intellectual property and advocate open source code, creative commons licensing, file sharing, and drm-free documents. you know, the whole boing-boing crowd.
i've noticed on typophile a strong and understandable trend towards conforming
to EULAs and strict adherance to license regulation.
i don't know where i stand, as i understand both arguments but feel unable
to consistently advocate or practice either.
i'm curious if any of you hardcore typophiles have any thoughts on the future of
font licensing or possible alternative models. i know there are free fonts
and cc fonts out there, but is this really the best we can do ?
(should this thread be in this forum or "general" ?)
“Kamenica” - named after a beautiful small mountain river in Serbia - is a font family containing 3 weights: Light, Regular and Bold.
The Kamenica river is only a few meters wide. Mostly shallow and cold, clear and green, it was the direct inspiration source for the creation of this condensed typeface. As our other typefaces, “Kamenica” also combines traditional shapes with modern forms, tall x-height and a collection of more than 300 glyphs.
Comparing the river with the font, we could say that letters are the fishes that lives in the Kamenica river and that the font weights are the seasons in which this river shows most of its own character.
Find out more at: http://www.tourdefonts.com/font-catalog/kamenica/
Available (or it will be soon) on: