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Hi all, I expect find you fine in this new year. This is my first entrance of 2015, now releasing my latest type project CAMINITO, a layered font family inspired in Argentinean art craft «Fileteado Porteño». I started this project 2 years ago, taking inspiration from numerous ads, posters and signs installed along the city of Buenos Aires. Now the font family is available at MyFonts.com
Fileteado Porteño is a type of artistic drawing, with stylized lines and flowered, climbing plants, typically used in Buenos Aires, Argentina. It is used to adorn all kind of beloved objects: signs, taxis, lorries and even the old colectivos, Buenos Aires’s buses. Filetes (the lines in fileteado style) are usually full of colored ornaments and symmetries completed with poetic phrases, sayings and aphorisms, both humorous or roguish, emotional or philosophical. They have been part of the culture of the Porteños (inhabitants of Buenos Aires) since the beginnings of the 20th century. One of the most highlighted and recognized artists nowadays is Alfredo Genovese, who does a great job of teaching and claim this art and craft. The name Caminito reminds the emblematic and iconic Buenos Aires neighborhood immortalized by Carlos Gardel in music, in the tango.
I'm planning to work on my website design and I'm going to use a dynamic text replacement technique that will automatically change the headlines with an image. That way I'm able to use other fonts than the regular Arial, Verdana, Georgia, Courier and Times New Roman and, so far, I'm going for the Myriad Pro available in Mac OS X.
However, there's a slight problem: Romanian, the language I use on my website, has some characters not available in the default Myriad Pro like Ş and Ţ and I thought I could try and add those by hand.
Am I allowed to do that? And am I allowed to upload a font from the operating system to the server so I can use it to generate images with it?
I have produced a limited edition screen print.
It's metallic gold lettering on Plike, a luxurious black paper.
I have a big site update planned in the next month at
www.seblester.co.uk, with lots of new work, but wanted
to give Typophiles a preview of this piece.
Please contact me via my site for pricing and availability.
Ok, so now I'm a bit lost.
I'm pretty new to the concept of font licensing. I'm working on my first commercial project, a small, animated film, incorporating fonts I found in Microsoft and Adobe fonts.
The film itself uses a lot of text with varying fonts in certain spots and if we were to sell t-shirts of the characters, it would have to include some of these fonts as they are a part of the characters. It probably sounds stupid, but it makes sense in the context of the show.
Anyway, the fonts will only be used in a film and printed format. Maybe in a logo as well. But never distributing fonts for use by other users, etc.
I can't seem to get a straight answer if I can legally use these fonts without further licensing in this way.
Any advice would be appreciated. Thank you.
The Artvod font family is a graduate project of Dusan Jelesijevic on the topic Museum of Digital Art. The whole project included a 15 minute interactive presentation through building of Artvod Museum, consisting of 15 posters and the font in two weights (Regular and Bold).
The Artvod font family also appears in IndexBook’s book Homage of Typography by Pedro Guitton.
I've just released Madre Script
Marconi Lima | TpF
Sélavy is the result of a serendipitous collaboration with Paul Soulellis. For his project Library of the Printed Web, Paul was looking for a dotted typeface reminiscent of the punched-out caps on Marcel Duchamp’s 1934 Green Box. As he could not find a typeface close enough, I was spontaneously tempted to make one. This is it. ( Paul’s beautiful blog post also reflects on the process.)
Sélavy (named after Duchamp’s pseudonym Rrose Sélavy) is a dotted typeface that does not follow a non-dotted model; it exploits its dotted character for instance by forming spontaneous «ligations» between letter pairs like fi or fl, but also EE or LL. (Or FTW!) It is quirky (especially in the caps) and recognizable, but pretty legible also in non-huge sizes (whereas if set very large, it tends to disintegrate into a pattern of dots).
In addition to being used by Paul in his abovementioned project, we are simultaneously releasing Sélavy to the public as a free font under the SIL Open Font License. And we are not only making the ready-to-use font file available but also the fully component-based source UFO file, making it easy for those with access to type design software to generate new instances of the design.
Typophile Critique thread (thanks, all!)
Our largest type family just got bigger! Originally designed by Veronika Burian and José Scaglione as a titling typeface, Tablet Gothic is quickly becoming a news designer's favourite. The font delivers the sturdy, straightforward and clean appearance expected from a grotesque combined with a good measure of personality. Now with the obliques making it a total of 84 fonts with six grades of condensation, Tablet Gothic can deliver consistent impact even better, whatever the publication format.
Please contact us if you wish to upgrade your copy of Tablet Gothic to include obliques.
more information at: http://www.type-together.com/Tablet Gothic
Morricone is a new gun with its own tune. After looking at some old exxamples of egyptian and italian slabs, I sketched out some letters that reduced the negative space between slabs and strokes. With some additional abstraction, Morricone took shape.
The Hague, 9 July 2008
Feisar Express, designed by Paul van der Laan, is the latest addition to the everexpanding Feisar family:
Feisar Express could be called a ‘retro-futuristic inline script typeface family’. But it would be better to say that it is the outcome of an experiment to explore what can be done with current font technology. This family comes in two different inline styles (called One and Two) and each inline style comes in three different variants for up, down and alternating connections (called Uptown, Downtown and Crosstown).
More information, examples and a specimen can be found at the Type Invaders website. A special introductory price of 50 euros for the complete bundle applies until 15 August.
Paul van der Laan
We announce the release of the new html website, easy to use and to bookmark.
Along with the new site... some new typefaces:
all with pdf's available for download.
Comments are welcome.
Dino dos santos
As some people know, Adobe Reader 7 comes with Minion Pro and Myriad Pro typefaces. What exactly are the limitations on the usage of these font files? Can I use them for whatever I want as long as they stay on the computer where I installed Adobe Reader?
(No, I'm not going to read any EULAs.)
You would like to express tradition by using a contemporary font? Sintesi might be exactly what you are looking for.
Sintesi stands for synthesis: the unification of serif and sans-serif into a contemporary font, which surprises with different facets depending on its application.
In copy size Sintesi performs like a sans-serif. It is a compact and well readable font that fulfills all requirements of modern digital media.
In larger sizes, Sintesi unfolds its traditional character. Now, its strong contrast and the perceptible feather-ductus stand out clearly, as we appreciate it in a historical old style face.
Sintesi is completed by a suitable italic. Its cursive character has more to do with writing-speed than to moderate inclination. Therefore Sintesi may be well-suited for many other purposes, not only for emphasis.
The whole font family consists of 20 styles and offers a wide range of Western and Eastern European special characters, typographical ligatures, uppercase, oldstyle and fraction figures.
Start combining antiquity with modernity!
Download a free trial version of Sintesi with a reduced character set. Check it out!
Hello, I would like to let you know that I've updated the iKern site. Several question raised here about this tool and I recognized that I needed to explain more (and better). As promised I went deeper, and I also hope clearer, into the description of its model. I hope it could be interesting.
Greater Albion have just posted some preview images featuring two iminent releases -Slatterine and Stannard- here on our blog. Slatterine is a retro themed face wikth overtones of the 1950s era of chromium and streamlining. Stannard owes its inspiration to 1920s advertising designs.
Since it was already debated on Typophile here or here, it may be of interest that finally, 2005 TDC award winning Minuscule by Thomas Huot-Marchand is available through Thomas’ foundry http://www.256tm.com/. I have not yet had the time to look at well-printed samples, but as far as I can judge for now: Congratulations to Thomas!
I'm wondering about using a name for a font that's already taken.
Twice! Once by Image Club, and then by Solotype. Just the fact that
there are in fact two of them already is encouraging (I mean legally)
and I know that even H&FJ have used names that were already out
there, but I'm wondering: what are the probable legal ramifications?
Practically speaking, is it only Berthold that one must avoid tangling
with like the plague?
And I'd like to bundle another question in here: What are your thoughts
concerning serif/sans font systems where each has a different name?
roundingUFO is available !!!
RoundingUFO is a mac only application that converts the corners of the glyphs in your fonts according to user-defined parameters.
It automates the process yet lets you keep complete control as a designer. You determine the parameters: the black and the white corners. RoundingUFO doesn't mess around with your contours; the necessary points are added.
With RoundingUFO considerably speeds up the production process, without loss of quality. All UFO's generated with roundingUFO can be interpolated.
Additional features include: adding ink traps or simply cutting off the corners instead of adding rounding them.
go check it out http://roundingufo.typemytype.com/
yours sincerely Frederik
Oh boy, this must be what hrant has been waiting for... (or isn't it?)
apparently the rest of the family is yet to follow
Over the years I've spent many hours reviewing the contents of Dan Solo's font catalog, as well as some of the alphabet books he published through Dover. As I've surfed the net to find out more about his fabulous collection of typefaces, it seems that people sometimes refer to the typefaces as "his". This has spawned some questions in my mind about what rights, if any, has he acquired along with his collection of 4000+ typefaces.
The Dover books contain several typefaces I'd like to use. Some of them are available as fonts, but some are not. Perhaps I just don't know how to find them. Anyway, according to the back covers of the alphabet books, the alphabets are copyright-free. What is the accepted practice when it comes to digitizing the alphabets in those books, using them as fonts, and perhaps selling them?
I've put everything into this font that I thought I could legitimately make. Walleye supports the Latin, Cyrillic, and polytonic Greek alphabets, and includes a full complement of small caps for each of them. Combined, these alphabets support nearly all languages of Europe, as well as many from outside it, such as Mongolian and Lushootseed. Besides standard ligatures, there are special forms to prevent (or gracefully manage) collisions between pairs like
gj. There are all the local features (such as for Romanian) that are needed for graceful display of sometimes neglected languages. Walleye also has case variants for punctuation.
Numerals are also full-featured: both lining and old-style figures are available in monowidth and proportional variants, and super- and subscripts and on-the-fly fractions are available.
In Cyrillic, there are alternate forms for the preferred Serbian shapes of letters. The Greek is worth a bit of special attention. It has enough different display options to satisfy even a demanding classicist. And moreover, the design of the letters is a unique contemporary take on the old-fashioned calligraphic style of Greek fonts that was used everywhere until (often ugly) Latinized, "modern" alphabets began getting popular around the beginning of computer typesetting.
I also think, and I hope you do too, that the design itself is no boring slouch. It's a friendly and entirely original design that doesn't try to fit in with any particular historical predecessors; it gets a lot of its character through luxuriously long scroll-shaped terminals and faceted shaping of round bowls. I've also made an effort to unclutter the design for easy reading by simplifying shapes like
s that would otherwise be crowded with serifs or finials.
Check it out—and I hope you enjoy it!
Grueber, a new release by Dalton Maag, is a two weight slab serif for display usage. The typeface is based on designs by Austrian architect Paul Grueber in the early 1900s for castle Hoch Osterwitz.
Dalton Maag also releases true Italic forms for our popular typeface Effra. The addition of Italics makes Effra a versatile choice for any design project.
Myself Webfont developer, Niche developing area of developemnt .woff (web open font format) & .eot (embedded open type)
At the moment, I can covert PS(OTF) or TTF(OTF) one complete family free for any designer interested..
Commercial webfont developement also welcome fromr Individual & Foundries etc.
At this stage morely concerntrating on these two .woff (web open font format) & .eot (embedded open type).
Have definite plans to add .SVG sooner in webfonts development categories sooner..
Cheers n Regards
Novotype - WebFonts Unleashed
E : firstname.lastname@example.org