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Thanks to all the members of this forum that supported me in this project all over the years :-)
It's here (well, the first part is)!
The microsite: http://canape.fonts.info/
The PDF: http://fonts.info/pub/pdf/canape-serif-en.pdf
The PDF at issuu: http://issuu.com/fonts.info/docs/canape-serif-en?mode=window
DSType introduces some of the latest releases. Comments welcome!
Dobra Slab is robust serif companion to Dobra and it's available in 5 weights with matching italics. Soon available for licensing.
I don't even know how to describe it. I designed it by impulse and I wonder how it's going to be used! Soon available for licensing.
Not my own release but a font that has recently come to my attention. Since I can't find mention of it anywhere on the forum I thought I would highlight it. As a South African I've been struggling to find fonts that are "local" but not kitch. I was very pleased when I found Lalibela, I think it is quite beautiful:
I'm thinking on building up a small Foundry/Font Distributor web based company for Portuguese/Portuguese comunity Indie Font Developers. Already bought the URL, TYPENATION.com, and I wanted to ask you typophiles what are the legal/comercial aspects I have to start with.
For instance, is the fonts licence issues a foundry responsability? On myfonts.com what is the process to add up the foundry on the list?
Any help on these issues/warnings is welcome.
Jim, from unionfonts.com or Grant from Veer.com, any help would be appeciated :)
Greater Albion Typefounders has just published a preview of a forthcoming release, Cherritt, inspired by draughtsmens' hand drawn Roman lettering here on our blog. All constructive criticism greatfully received!
New licensing schemes have been launched for Andron. The idea behind is to stretch costs over time in order to keep the entrance price rather low.
A special instalment plan is offered for students, who now can get started with Andron at incredible €45.
Another special license is adressed at publishers who edit scientific journals, and their authors.
Since this kind of licensing is bound to handle a standing order payment it may be less interesting for those who don’t have a German bank account for the time being (banks tend to extra charge you for cross-border payment orders). Consequently the offerings are presented here in German by now. But I’m prepared to give any further explanation in English if required.
Rolls is a typeface designed by Georg Salden. It belongs to the Eurostile font style. But what’s really interesting is the rather calligraphic italic, which forms a great contrast to the angular upright. Salden himself said that Rolls is one of his few typefaces that also can be slanted automatically. But only this gentle and zestful italic unfolds its charm.
30% de descuento en "Tipografía Latinoamericana" 42 diseñadores, tipógrafos, investigadores y docentes, que narran sus experiencias, reflexiones, procesos y resultados. ¡No se lo pierdan!
For English speakers : this book is a collection of 42 designers, typographers, researchers, and teachers that narrate their experience, reflections, process and results. Personally I think it's one of the most important book releases in regional typeface design :)
Authors: Zalma Jalluf, Ewan Clayton, Julio Ferro, Eduardo Rodríguez Tunni, Fernando Díaz, Lautaro Hourcade, Viviana Monsalve, Patricia Benítez, Fabio Ares, María Laura Fernández, Miguel Catopodis, Alejandro Valdez, Juan Heilborn, César Puertas, Ignacio Martínez-Villalba, Felipe Cáceres, Francisco Calles, Cristóbal Henestrosa, María Teresa Bruno, Juan Pablo del Peral, Fábio Lopez, Fábio Haag, Tony de Marco, Francisco Gálvez, Marcela Romero, Aldo de Losa, Henrique Nardi, Gustavo Wojciechowski, Marina Chaccur, Juan Carlos Darias, Víctor García, Marina Garone Gravier, Juan Pablo de Gregorio, Cláudio Rocha, Cecilia Consolo, Pablo Cosgaya, Alejandro Paul, Rubén Fontana, Diego Vainesman, Oscar Yáñez, Dave Crossland.
Prologue: José de los Santos
Compilator: Vicente Lamónaca
Thanks in advanced for spreading the word
heyyy i just release this new free funny shit font....
for download check this link....
A while ago I created Compyx, a multicolor font (using Abdobe/Mozilla's SVG-in-OpenType technique). It'll show up like your average singlecolor font in browser that don't support this yet, but it'll show up in classic green/gray colors in Firefox, and soon Chrome.
You can download the TTF/WOFF in the blog post.
I was wondering if you know a good place to upload this font so it can be used by more people. It's pretty much open source/public domain.
Huronia – The one who tells stories
Huronia, designed by Ross Mills, is a text face with flavour, suitable for recording oral literature and for extended reading in books and academic texts. We are sure it would shine in woodcrafting magazines too.
Besides being a fully-equipped Latin font with expert features (small caps, various figure sets, superiors, fractions), Huronia takes up the challenge to support all native languages of Americas. Alongside Latin-based orthographies, it provides for the first time a level of typographic sophistication that gives Canadian syllabics equal footing with the Latin, with full attention paid to truly harmonising the bold and italic styles between scripts. It is of special linguistic significance in helping preserve the written languages of endangered native American cultures that are under-equipped in the digital age.
Currently, the Latin Pro and Inuktitut versions are available, and we will be releasing the polytonic Greek, extended Latin, Cherokee and more in due course.
For more information visit our site: http://www.rosettatype.com/Huronia
Quote from P22 email:
"P22 Zaner, designed by Paul Hunt, is based on ornamental penmanship as
taught by Charles Paxton Zaner at his art college at the turn of the 20th
century. The Zaner font set includes four unique fonts that complement the
other fonts in the set. Each font is available in PostScript and TrueType
formats as well as OpenType which offers even more characters, options and
overall functionality. Set options include PostScript and TrueType with a
bonus set of extras and a "super" pro set containing over 3,000 characters.
Zaner is perfect for wedding invitations and documents that require a touch
"Rufina" by Martin Sommaruga:
PAY WHAT YOU WANT! (Regular version FREE)
Rufina combines features of several typographic styles with Bodoni forms found in the calligraphy of flexible tip pens. High contrast enables it to work well in text and headlines.
German Type Foundry is pleased to announce the release of Secca.
Secca is a fine and simple typeface honoring the roots of early German grotesque type designs but mastered for the needs of today.
One font of the 12 weights family can be ordered as free demo version.
Greater Albion Typefounders has just released Sabio on Myfonts.com. I regard Sabio as an evolutionary face. By this I mean that it merges elements of script and Roman design into one elegant whole.
The design was ‘evolved’ somewhere between these two classic approaches. The resulting family of faces makes an excellent display family, but is also clear and legible at small sizes and can be used as a text face with a distinctive flair. More…
Sabio is a wonderfully flexible face that can sit happily alongside artwork that owes its inspiration to any era from the Art Deco onwards. The regular form is gently and subtly oblique, and the glyphs have a slight hint of swash about them. Alternate and perpendicular forms are also offered. The regular, alternate and perpendicular forms are all in turn offered in regular, and bold weights as well as in a condensed form.
More samples of Sabio in action can be found on Greater Albion's blog.
Hello everyone. I'm new the world of type, so please forgive my ignorance.
As part of a major re-brand, my company is looking to adopt a relatively unique font family which can be used in all of our collateral. The font which has most appealed to us so far is Whitney and, whilst we are definitely willing to pay for the 2 licenses needed for our designer and server to host the font files, I've been told that, if we want to use the font in our distributed PDFs, we need to pay an additional $150 per year per font variant. These kind of figures amount to being way too much and i'm thinking it makes much more sense to have a custom font developed.
Unfortunately, though, we don't have much time available to us and using a ready-made font family makes much more sense.
My questions to all of you typophiles are...
Many thanks for your time and input.
Happy to announce my first "family".
This is a tall, slim monospaced dekor font, a fun, a spin-off of a previous experiment.
This was also the first quite serious project of my (foundry) to achieve a system.
More info at my (also new) site.
Hope you will like it.
We are taking the liberty to inform you about Tasmeem Edition ( www.tasmeem.eu)
Tasmeem is a set of plug-ins and fonts for Adobe InDesign CS3 Middle Eastern version, specifically conceived for Arabic. It makes InDesign the most comprehensive Arabic typesetting and design tool in the industry and is set to revolutionise Arabic typesetting.
“Since our inception, we have been committed to providing innovative applications for Middle Eastern enabled software,” said Pierre Blangero, Chairman and CEO, WinSoft. “We have now gone one step further with the launch of our revolutionary Arabic typesetting software. Tasmeem not only provides advanced Arabic typography quality - close to calligraphy – but retains the beauty and legibility of Arabic text even when computer-generated.”
The Tasmeem family includes three product members and each of them has been tailored to specific user group requirements. Tasmeem Limited Edition is dedicated to every customer who wishes to use Tasmeem fonts, Aridi ArtWorks, and open and print documents created by Tasmeem products. Tasmeem Creative Edition meets the expectations of designers who create advertisements, front pages, greeting and business cards. Tasmeem™ Publisher Edition takes thing to the ultimate level. The features are dedicated to Publishing Houses. It offers professional tools to create sophisticated Arabic literary and academic books.
WinSoft also releases two elaborate fonts – the Naskh and the Emiri - that can be used for various script styles, including new forms created by young designers.
“We are confident Tasmeem will appeal to all Arabic users, especially designers and publishers who will no longer be bound by the technological limitations of old type-founding and printing methods,” added Blangero.
Adobe customers have the great opportunity to discover Tasmeem Family with a special
bundle: Tasmeem Limited Edition is included in all Adobe Creative Suites 3 Design.
More information and tryout on www.tasmeem.eu.
About WinSoft SA ( www.winsoft.eu)
WinSoft, a French software company based in Grenoble and founded in 1985, is specialised in the design, development, localisation and publishing of software in emerging markets. As a strategic partner of Apple Computer, and Adobe Systems since 1995, WinSoft has extensive experience in helping software publishers successfully to introduce and expand their business in Central and Eastern Europe, the Middle East and South East Asia. WinSoft expertise ranges from software engineering and localisation, to production and sales and right through to in-country marketing and distribution.
I would like to announce here a new major release of my Old Standard font family. The current version is 2.0.2, it has many improvements and new features in comparison with 1.0. In particular a bold version is now available in addition to regular and italic. I have also greatly extended the range of supported Cyrillic characters and implemented all Early Cyrillic letters and signs currently available in Unicode, including those recently added in Unicode 5.1.
At the same time I have posted three completely new fonts, which form together a single package, called Theano:
These fonts were first intended as Greek only, but finally I found it interesting to supplement them with stylistically compatible Latin letters. For this reason Theano fonts currently have just one
style/weight per family and contain only Latin and Greek characters (no Cyrillic).
All fonts are available for free (under the terms of SIL Open Font License). See http://www.thessalonica.org.ru/en/fonts.html for more information and download links.
I'm doing layout for a client at their office, where they have a Windows terminal running Adobe apps & Quark 6. The laser prints of the newsletter I've been putting together look fine, but in trying to print a PDF of the 8-page Quark doc, I'm getting a document in which everything's in place except for one font, which doesn't print at all.
Now, full disclosure: this is a font that I know perfectly well is expensive, and was surprised to find on their terminal (Neutraface - first version, all iterations [I think] ). It seems most likely to me that another part-timer left it behind as he whizzed through. So it won't surprise or disappoint me if I have to work around it (though boy, it does look snazzy). I don't understand Quark's behavior, though.
Quark doesn't stop me to tell me that there's a conflicting permission bit, and it doesn't put another font in its place – it just leaves blank space. Is this how "permission bits" work - that you can use the font for quick in & out stuff, bathroom signs, no problem, but it won't spin down to your actual workflow?
The other reason I'm surprised is that I took the project home last weekend and worked on it on my Mac, and generated a PDF (to send to them) that looked fine. At home I'm running Adobe CS2, with Acrobat 8.1.1; at this office they're running CS3.
So if it sounds like I'm just trolling for an explanation of how font companies are starting to protect themselves, that's not coincidental.
I finally finished the obliques for Suomi Slab Serif, and sent the files to MyFonts, so this family is soon available:
It has six weights with optically corrected obliques. Attached also a more comprehensive pdf.
| Attachment | Size | | --- | --- | | SuomiSlabSerif.pdf | 700.83 KB |
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.
On Saturday evening 12 October 2013, the diner of the yearly ATypI (Association Typographique Internationale) conference took place at the atmospheric Winter Garden restaurant of Grand Hotel Krasnapolsky in Amsterdam. More than 300 attendees enjoyed the excellent buffet. Highlight of the evening was the presentation of the 3rd Dr. Peter Karow Award for Font Technology & Digital Typography to Dr. Donald E. Knuth, world famous for developing TeX and Metafont.
Especially for this occasion a booklet titled Digital Typography & Artiﬁcial Intelligence was jointly produced by Adobe and the Dutch Type Library, the latter being the initiator of the Dr. Peter Karow Award. In this publication font-software pioneer Dr. Peter Karow, who is especially renowned for developing the IKARUS program, describes how digital typography inﬂuenced type design and text layout. Digital typography has changed font production and text composition in their entirety. Modern text composition was mostly inﬂuenced by programs such as WordStar, Word, PageMaker, QuarkXPress, and FrameMaker, which replaced writing, typesetting and printing in both ofﬁce and at home.
Dr. Peter Karow (1940) studied high energy physics at the University of Hamburg, leading to a dissertation in 1971. With Dr. Gerhard Rubow and Dr. Jürgen Weber he founded the company URW Software & Type GmbH in 1972. Several contacts with type designers, especially Hermann Zapf, had great impact on his development of the IKARUS program. Since 1988, Karow and Zapf worked together on the hz-program in order to use the power of computers to improve the micro-typography of texts.
Dr. Peter Karow gave international presentations at numerous conferences, wrote many articles for journals, got seven patents for DTP-related methods, and wrote several books, among them: Digital Typefaces and Font Technology (both Springer-Verlag, Berlin-Heidelberg-New York, 1994), and Typeface Statistics (URW Verlag, Hamburg, 1993).
Digital Typography & Artiﬁcial Intelligence is available from the Dutch Type Library and can be ordered at DTL’s online book shop. The texts are in English and the illustrated booklet contains 56 pages printed on 120 and 240 grams Bioset FSC paper (size: 12 × 24.5 cm) by Ando bv in The Hague, The Netherlands. The price is €12.50, exclusive V.A.T. and shipping costs.