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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.
High-Logic recently released FontCreator 7 , introducing OpenType layout features, web font support, optical metrics, and a lot more.
Detailed information, screen shots, and a trial version are available through the product page.
We appreciate feedback; both here and at the forum:
“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:
"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.
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.
Mostly designers deliver a PDF preview of their font(s) when one in made. About how it's made, how it looks, blabla. What is your opinion about what should be in it? And which already excisting promotions do you think are good?
I'm trying to make one for myself (more like a catalog but well designed), containing my font collection.
Transat Text is a new geometric sans serif type family, and is the more rational sibling to the unabashedly Art Deco " Transat". Transat Text has a slightly taller x-height than its counterpart, as well as more rationalized character widths, shorter descenders and fewer design eccentricities, making it easier to read in text settings. While designed to shine in paragraphs, it also performs admirably in larger display settings.
Transat Text includes many OpenType features, such as ligatures, small capitals, case sensitive forms, stylistic alternates, arbitrary fractions, and a full complement of proportional, tabular, and oldstyle figures. With nearly 700 glyphs, it provides support for most European languages. The Transat Text family includes 5 weights plus optically-corrected obliques.
Just finished a redesign of Pixilate, my small foundry with mostly handwritten/handdrawn fonts. It is now mobile and tablet friendly and uses a friendlier system for purchases. I also released Bellota, an open source (OFL) display sans.
Feedback is welcome on both site & fonts. :)
Thought you all might be interested in knowing that FF (Fontfont) faces are now available at MyFonts:
Obviously this is something we're quite proud of as Kevin, John, Jan, Petra and others have been working on this for a long time. I personally think that the inclusion of FF faces is testament to the increasing quality of not just customer experience but type available at MyFonts overall in the past year. WIth our Foundry Review Board (myself, Jan Middendorp, Tiffany Wardle, Adam Twardoch, Florian Hardwig), we've become far more stringent in terms of the quality of new foundries; we expect to see the same sort of editing and selection - a sort of informal curation - happen with new releases from established foundries in the near future. These are all parts of a new, more robust, selective and ultimately more useful MyFonts, which began with our redesign a few years back, and which we think makes us the most complete type-buying marketplace in the world.
I am very proud to be associated with this company, as you can probably tell; bringing Fontshop's exclusive FF faces "into the fold" is a celebration of our growth, and we hope shows that we're on the right path.
Just a quick heads up to let you all know that we (Colophon Foundry), have just released Fortescue & Fortescue Pro. A new serif typeface with stylistic pointy serifs.
The Pro set comes complete with extended characters for use in Eastern & Central European languages. Full OpenType features include contextual ligatures, discretional ligatures, superior & inferior numbers, fractions, oldstyle proportional figures, proportional and tabular lining figures and a full set of small caps. Please note that the pro set features are in addition to the standard weights.
Visit: www.colophon-foundry.org for more information.
Let us know what you think.
This is my new release Edvard:
This font is based on the handwriting of Norwegian painter Edvard Munch. Using his many letters, drafts, note- and sketchbooks as reference (source: Archive of Edvard Munch's writings), this font characterizes the elegant yet sometimes quite irregular writing style Munch had. To resemble naturalistic writing and remain as authentic as possible, a combination of extended ligatures and alternates has been included, as well as Swash characters (accessible via open-type). Additionally, several of Munch‘s paintings and woodcuts are embedded as extras. Available at Fontspring and Myfonts.
For Immediate Release:
Buffalo, NY- February 3rd, 2010
P22 Type Foundry and the International House of Fonts announce 3 new font families for February designed by Norwegian type designer Torleiv Sverdrup for IHOF.
P22 Kirkwall is an unusual and elegant design. The upper case letters have a slightly curved stem that ends in a small serif and wedge crossbars. The lower case letters have a fluid and easy design with end-hooks and long leading serifs. Kirkwall Trim and Bold Trim styles contain an alternate set of lower case characters without the long leading serifs and end-hooks. P22 Kirkwall is appealing for display work and appropriate for short texts and headlines.
"The type design is inspired by my meeting with the people of Orkney Island and their culture, and it's my tribute to the St. Magnus Cathedral in Kirkwall."
P22 Ornes is inspired by the runic alphabet with ornamentation based on the woodcarvings of the Urnes Stave Church (Norway), an old wooden church from approximately 1150 CE. The woodcarvings and their symbolism reach back to the pre-Christian era. The Ornes Pro styles each contain the runic alphabet, ornamented caps, small caps, ornamented small caps and other pro OpenType features. Ornes Ornamented Rustic Pro features a subtle uneven lowercase with ornamented caps.
P22 Speyside is a round, curved and controlled sans serif with an additional set of decorated uppercase letters, initials and small caps. It's appropriate for text, titling and display. The origin of the name is taken from a small location in Tobago. The font is inspired by the local handicraft, the batik in particular. Each pro font style includes small caps and decorative initials as well as several OpenType features.
Introductory offers available for all three families, purchased separately or in one pack, through February 28th.
Quick View of the 3 new styles available in our newsletter:
Become a fan of P22 on Facebook:
P22 type foundry, Inc.
Not your typical type
PO Box 770
Buffalo, NY 14213
Greater Albion's two latest projects, Adantine and Corvone are at the point of being released on Myfonts.com. In the meantime, here are some samples of the two families in action on our blog.
We have officially launched our online store with an Ampersand 10-Pack. Check it out! Haafe.com
Illiad Sans is an adventurous type family, brave and charismatic, built for editorial contexts. The proportions are reduced in order to supress the need of small caps, avoiding editing hassles.
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JollyGood Sans- the sensible alternative to the font that must not be named.
(I know I'm late to the game- After more than a years' work, Comic Neue beat me by a few weeks :( )
A while ago I decided to stop mocking comic sans and instead do something about it. I created JollyGood Sans as a replacement that would keep the fun, informal, handmade feel of CS, but with a more polished look (seriously, have you taken a close look at the capital H in CS?).
The result is a family of 11 fonts (more on the pipeline) that are legible, web-friendly, and have very complete character sets, including ligatures and alternate letterforms.
I hope it gives designers an alternative for when a comicsans-ish touch is needed.
JollyGood Basic is free, the rest are 60% off for a limited time.
Greater Albion's next two releases are imminent-Granville inspired by Victorian era shop signage, and Federal Streamliner, based on lettering seen shooting past on the side of an old railway carriage!
These should appear in the next day or so on Myfonts. In the meantime there are previews on our blog.
For Immediate Release:
March 4th, 2010
P22 announces new releases for March- 2 new fonts by Terry Wudenbachs for IHOF, based on designs from the Nebiolo Type Foundry.
P22 Slogan is a non-connecting script font that captures the essence of the lettering used in 1950s European advertising. Bold strokes of this brush-drawn face make this design a great choice for both retro design and contemporary work. The font is based on the 1957 design "Slogan" by Aldo Novarese for the Italian Nebiolo Type Foundry. At the time of its original release, it was touted for "striking publicity work". This new digitization accurately reproduces the outlines of the original not found in previous digital versions of this design. P22 Slogan is a non-Pro Opentype font that includes Central European characters.
P22 Nebiornaments contains over 100 ornaments based on the Italian Nebiolo Type Foundry designs of the 1950s. Many of these ornaments are designed to create complex patterns and continuous borders. The simple geometric shapes allow for endless combinations for a wide variety of uses.
Prices start at $19.95. For the month of March, Slogan and Nebiornaments are available together in the Nebiolo Combo Pack for the discounted rate of $29.95.
Quick View of the 2 new styles available in our newsletter:
Become a fan of P22 on Facebook:
In 2008 TypeTogether released the Bree typeface, a sleek sans serif that quickly became a favorite among brand and editorial designers.
Bree Serif follows the same theme as its predecessor. It is a young and energetic upright italic that approaches readers with hip and somewhat elegant charm. It has a range of styles that can perform as counterparts to the original Bree fonts. At the same time though they bring a whole range of new and individual features that make Bree Serif a separate type family in its own right.
The characters in Bree Serif maintain the original flavour of handwriting, but have a more subtle appearance to support optimal editorial usage. The slabby nature of its shapes, particularly in the heavier weights, makes for a strong impression.
Some of the characteristic features of its sans serif cousin are present in Bree Serif too, such as the single-story ‘a’, the cursive ‘e’ and the rhythmical ‘k’ and ‘y’. Alternate letters of these are also available when a more neutral look is desired.
Designed by José Scaglione and Veronika Burian.
More information: Bree Serif
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