Draw and Paint
Inspired by the classic proportions of traditional book typography, and crafted for today’s digital landscape, the newest release from the Monotype Studio is the Quire Sans™ typeface. Designed by Jim Ford, the family of 20 fonts is a typeface for all media, suitable for everything from branding, advertising and packaging, to displays, user interfaces, billboards, signage and environmental graphics.
See the Quire Sans digital specimen: http://www.monotype.com/studio/quire-sans/
Download the typeface: http://www.fonts.com/font/monotype/quire-sans
Read the press release: http://bit.ly/1nb5qoo
Monotype’s Director of Words and Letters, Allan Haley, will Present “Typographic Master Lessons” on May 13, 2014, at 4:30 p.m., at the Hynes Convention Center.
Allan’s presentation will offer sage advice, design solutions and typographic inspiration from some of the most highly regarded design teachers and mentors, including Gail Anderson, Kit Hinrichs, DJ Stout, Michael Osborne, Carin Goldberg, Sean Anderson and Erik Spiekermann.
For more information on HOW Design Live, visit http://www.howdesignlive.com
For more information on Allan’s presentation, please read the press release here http://bit.ly/1ouSdFe
Allan will also be hosting a giveaway at the event for the following libraries:
Linotype Originals Library
The Linotype Originals Library CD includes all of Linotype's prominent designs such as the Helvetica, Frutiger and Optima typefaces in addition to recent releases such as Morris Sans, Palatino Sans and Generis. This collection is a valuable resource for just about any project. Street price: over $6,000.
Monotype Library, OpenType Edition
This comprehensive collection of over 2,400 Monotype typefaces offers more than 150 recent releases like Neo Sans, Soho and Mentor in addition to all of Monotype's historic classics such as the complete Gill Sans, Dante and Bembo families. Valued at about $3500.
René Braginsky has compiled his spectacular collection of Hebrew manuscripts over a period of more than three decades. It includes medieval documents, artfully prepared wedding contracts, richly illustrated scrolls, illuminated manuscripts, and rare prints.
The collection is characterized by a particular connection between text and art, as these Hebrew scriptures were often decorated with very elaborate illustrations. The focus is on illustrated manuscripts that originated in central and northern Europe of the 18th century showing high points of Jewish manuscript art. All the major Jewish calligraphers and illuminators of the period are represented with outstanding works in René Braginsky’s collection.
Ink as the origin of calligraphy — the creation and hence the basis of the Hebrew script. The ink evolves into a calligraphic letter aleph, which is the first letter in the Hebrew alphabet. The image shows development, formation and movement and — in a very aesthetic way — the beauty and the origin of the Hebrew script culture.
Design: Langesommer (http://www.langesommer.de/)
Interest in type, typefaces, typography and fonts has grown far beyond the graphic design community, yet few truly understand how and why these vital components of design are created and applied. This exhibition, organized by Monotype and designed by Pentagram for the AIGA National Design Center, celebrates 100 years of type as a constant influence in the world around us.
Gathering rare and unique works from premier archives in the United States and London, Century will serve as the hub of a series of presentations, workshops and events held at the AIGA gallery as well as the Type Directors Club and the Herb Lubalin Study Center of Design and Typography at Cooper Union in New York City. The exhibition features a range of artifacts representing the evolution from typeface conception to fonts in use. Typeface production drawings by the preeminent designers of the last 100 years, proofs, type posters and announcement broadsides are supplemented by publications, advertising, ephemera and packaging.
Exhibiting and event partners for the exhibition include Monotype, AIGA, Pentagram, Mohawk Paper, The Type Directors Club, Condé Nast, Hamilton Wood Type & Printing Museum, The Type Archive, The Herb Lubalin Study Center at Cooper Union, Alan Kitching and The Museum of Printing.
Exhibition design: Abbott Miller, Pentagram Design.
See the exhibition:
The exhibition is on view from May 1 at the AIGA National Design Center in New York City. The exhibition is free and open to the public. Tickets for guided tours can be booked here: http://bit.ly/AIGAreg
Follow #Century online for previews and images from the exhibition.
To see the release and sample images, please click here: http://bit.ly/1rLlBJs
is the singular vision of one man. Spanning decades, the design of this font took the history of the Roman letter into full consideration. Despite ultimate rejection for production into metal type, the design was realized as intended and is now released in digital form.
Noted New Zealand architect Bruce Rotherham (1926–2004) was inspired by Herbert Bayer’s "universal alphabet" created at the Bauhaus in 1927. While he admired Bayer’s pure geometry, Rotherham felt it was "virtually unreadable." The Bauhaus-inspired inclination for architectural publications to use sans serif faces provoked Rotherham to consider how a readable Roman book face might be approached using some of Bayer’s same principles of simplification, but also retracing the evolution and use of the Roman form in an analytic manner.
Bruce Rotherham spent his formative years working at his father's commercial printing business and was tuned in to typography from an early age. The Wedge alphabet was started in 1947 when Rotherham was an architecture student at the University of Auckland. In 1958, after years of development and consultation with his father, who was a master printer, Rotherham approached Monotype to consider producing his typeface for commercial release. After some back and forth with Monotype advertising manager A.D.B. Jones and typographical advisor John Dreyfus, and despite trial proofs being made, the design was politely declined for being too much of a "specialist face."
Rotherham continued to practice architecture in New Zealand and Great Britain for over thirty years. By chance, he heard the BBC radio show Science Now discussing the topic of computer typesetting. Not content to give up on Wedge, he contacted the item’s producer, Adrian Pickering, at the University of Southampton School of Electronics and Computer Science. Pickering worked closely in collaboration with Rotherham in the production of the digital version of the face. The type was shown posthumously for Rotherham in the 2009 exhibit Printing Types: New Zealand Type Design since 1870, held at Objectspace, in Auckland.
Wedge has only been mentioned briefly on typography sites on the Internet, but finding the full story on Rotherham's design had remained elusive. Over sixty years after it was first conceived, Wedge is now available from P22 along with Rotherham’s detailed documentation on the font’s development and rationale.
The full PDF rationale can be downloaded from the Wedge webpage where the fonts can also be purchased. Wedge is available at a 25% introductory discount through April 30th, 2014 on the P22 website.
See our Behance page for photos and more background info on the development of Wedge.
P22 Type Foundry
New to the Monotype® library, the 36-font Burlingame® typeface family offers designers a square, sans-serif design that is suitable for a wide range of purposes, from branding, advertising and packaging to automotive displays, user interfaces, motion graphics, and mobile and broadcast environments.
Designed by Carl Crossgrove, senior type designer at Monotype, the Burlingame typeface performs with strength and grace at any size. It’s a multifaceted, multipurpose typeface family.
An introductory promotion is available through May 8, 2014 when licensing the entire Burlingame family of desktop fonts. Until then, customers are able to receive 50 percent off the regular price of $399.99 when licensing the Burlingame family from www.myfonts.com, www.fonts.com or www.linotype.com.
View and download two free weights here – http://bit.ly/1jocVoX
View our blog post – http://bit.ly/1kjSKfp
World boxing champion Wladimir Klitschko is attempting to deal a knockout blow to illiteracy through a unique fundraising initiative – and Monotype is in full support. Klitschko has punched 26 letters to create a font, which is now available for free on Linotype.com. Monotype has optimized the fist-painted font to ensure clarity and quality.
All proceeds from the voluntary monetary contributions will go to the Klitschko Brothers Foundation in partnership with German charity organization BILD’s “A Heart for Children” charity http://www.ein-herz-fuer-kinder.de to combat illiteracy internationally.
View and download the font for free: http://bit.ly/1dA1Cot
View video here: http://vimeo.com/87276571
For more information about the initiative, visit: http://www.klitschko-vs-illiteracy.com/
Monotype is now the exclusive provider of more than 100 typefaces from The Foundry, a U.K.-based typeface design studio owned and operated by typeface designers, David Quay and Freda Sack. The Foundry is known for premium-quality typefaces, with designs that have been sought and used by ad agencies, businesses and design professionals across the globe.
The Foundry collection features a range of serif, sans serif and display typefaces. Examples of typefaces in the collection include the Foundry Sans™ family, inspired by the humanistic aspects of the Stempel Garamond™ serif typeface, and the Foundry Gridnik™ design, created in conjunction with renowned Dutch graphic designer, Wim Crouwel, based on his 1960s sketches for typewriter use.
View and Download The Foundry typefaces on Fonts.com – http://bit.ly/1f9Hrz7
Read more about The Foundry typefaces – http://bit.ly/1gnNo0I
New release by G-Type: Precious Sans Two.
G-Type’s first new font release of 2014 is actually a major reworking of an old one, Precious Sans, which originally appeared back in 2002. The new family is called Precious Sans Two, available from www.g-type.com with a 50% discount until the end of January, then with 25% off the standard price until Feb 28th 2014.
Over a decade after it’s first appearance G-Type’s Nick Cooke decided the time was right to re-appraise the typeface, scrutinise the old letterforms and make some important enhancements.
Make no mistake though, Precious Sans Two is no rudimentary re-release; nearly every character has been redrawn, re-proportioned, respaced and generally improved.
The original Precious Sans was well received at the time but certain quirkier characteristics, the extended lower case ‘f’ for instance, or the binocular ‘g’, were perhaps too prominent and a little distracting. Short terminals on the ‘a’ and ‘s’ also made the first Precious incarnation less appealing when used as body text. Second time around the major overhaul has not only addressed the shortcomings of the original but made huge improvements right across the board:
• enhanced legibility and suitability for text use
• more streamlined range of 6 weights; Thin to Black plus matching italics
• cross platform compatible OpenType OTF format
• proportional and tabular figures
• extended language support
• small caps, accented small caps & related case sensitive forms
• extra stylistic set containing the original quirkier I, f & g alternate glyphs
• extensive suite of discretionary ligatures
• 20 directional single and double arrows in each of the six weights
Precious Sans Two is a crisp and distinctively modern typeface, well equipped for advanced typographic use in print, web and digital publishing environments.
Visit www.g-type.com/precious-sans-two-font to test drive & buy the fonts, or email firstname.lastname@example.org to discuss specific licensing terms.
Monotype has become the exclusive distributor of more than 100 fonts from Sumner Stone of Stone Type Foundry Inc. Stone’s typefaces have earned an excellent reputation for quality and legibility for a wide range of uses, from books to display advertising. Along with lecturing, writing and teaching, Stone will be designing new typefaces that will become available through Monotype.
View Stone Type Foundry typefaces on Fonts.com - http://bit.ly/1iT4Cns
And read more about Stone Type Foundry typefaces – http://bit.ly/1kvCbHU
Fonts.com is offering free trials of desktop fonts using Monotype’s SkyFonts™ client, which allows you to temporarily install and trial fonts within documents for up to five minutes.
You can read more on the Fonts.com blog: http://bit.ly/1d15Rtm
And learn more about SkyFonts here: http://bit.ly/IKgHej
View the exhibit gallery - http://bit.ly/I1uVrp
Read the blog post – http://bit.ly/1hRYiw3
View the press release – http://bit.ly/1edvXeC
Download the font - http://bit.ly/1gYK8b0
Monotype’s Akko typeface is now on “full display” at the Museum of Science, Boston, “Hall of Human Life,” exhibit. Akko is the main brand identity font for the museum’s newest permanent exhibit, which opened to the public this weekend.
As an essential component of any brand, the typeface works to affirm brand personality. Akko is fully integrated into the exhibit, appearing on screen and in print throughout the 10,000 square-foot space. The design is also used in 3D signage as part of several exhibit stations, crafted to draw visitors into various interactive settings to fuel discovery and curiosity about what it’s like to be human. The typeface’s best features are showcased: Akko is easy to read, approachable and friendly.
“Akko has the right balance of qualities we were looking for in a branding typeface,” Emily Marsh, a senior graphic designer at the Museum of Science told Monotype. She said they were looking for a typeface that would be highly legible at any size, from the tallest 3D letters to the smallest-sized text. She said, “It was important that the design be warm and friendly for both kids and adults, yet still be a strong presence. We love how Akko looks in the exhibit, and we appreciate how everyone is drawn to the design, even people who don’t know a thing about typefaces.”
Designed by Monotype Type Director Akira Kobayashi, the 24-font Akko family is a sans serif design that offers a large x-height, making the typeface appear larger and easier to read. The slightly condensed proportions help maintain legibility, even when several words are composed in a line of text. Akira also designed the characters to hold an even texture, regardless of text size.
Visitors to the “Hall of Human Life” are able to engage with more than 70 interactive exhibit elements to explore how the human body works, and how factors such as environmental circumstances, personal choices, physical attributes, diet, age and living conditions can impact daily life. As visitors journey through the exhibit, they may also take part in gathering and reporting anonymous data in an unending process of learning and discovery – all with the exhibit elements presented in a branded capacity using the Akko typeface.
“People will remember the ‘Hall of Human Life’ through the impressions they experience,” said Allan Haley, director of words and letters at Monotype. “There’s an ease and familiarity about it that’s a lot like being around a good friend. All of this adds up to an overall feeling that the exhibit creators sought to achieve – and did.”
P22 type foundry and the Hamilton Wood Type Museum are pleased to present their latest collaborative digital font release via Hamilton Wood Type Foundry (HWT): HWT Van Lanen, by renown type designer Matthew Carter.
Matthew Carter has had a long career as an innovative type designer. He received the 2010 MacAurthur Fellowship award, and in 2011, he received the Lifetime Achievement Award from the Smithsonian National Design Awards. Carter was trained as one of the last type designers to cut punches for metal type production. He has designed type for most technologies with the exception of wood type until 2009 when he was commissioned to create a new original type design by the Hamilton Wood Type Museum.
Matthew Carter has created many notable type designs, including Georgia and Verdana for Microsoft specifically for on-screen web typography, which set a higher standard for web users. Carter's Bell Centennial was created for AT&T. This design featured narrower yet highly legible letterforms, which resulted in reducing a substantial number of pages per phone book and ultimately saving countless trees from the pulper. The design of the Van Lanen font for Hamilton presented a new challenge for Carter: the font was to be cut using 100+ year old technology that has its own set of unique limitations.
The final design presented by Carter features a two-part font that echoes the historic 'Chromatic' wood types, which take advantage of color overlays. The font was cut for demonstrations and offered for sale as a new wood type design via the museum. Even though the Van Lanen fonts have been cut and made available, contemporary wood type production is still relatively expensive and few have actually acquired this font in wood format. The HWT digital release will allow typographic aficionados, graphic designers and casual desktop publishers to use the new Carter design for all digital uses.
As with all of the HWT digital font releases, proceeds will help support the museum's operations and its mission of hands-on education and research.
See our Behance page for photos and more background info on the development of Van Lanen from wood type to digital.
HWT Van Lanen is available at an introductory discount through November 30th.
P22 type foundry
Try Typecast now - http://typecast.com/google-fonts
Read the press release - http://bit.ly/19eufZk
We are delighted to introduce a new a free version of Monotype’s Typecast application, now available through Google Fonts and Monotype: http://typecast.com/google-fonts
Our premium version of the Typecast application enables typographic experimentation without the need to hand code or use expensive design software. In this new public version, users are able to select any font on the Google Fonts website and then follow the link to the Typecast application.
Google’s service is incredibly popular, and many designers’ first experience with Web fonts is made possible through their free library. And so in our drive to encourage more use of Web fonts online and offer a new way to access the Typecast application, Google Fonts is the ideal partner. Those who currently rely on Google’s library of free typefaces to bring more varied typography to the Web will now be able to work with those typefaces more easily and create stunning, readable compositions in a fraction of the time.
Specifically, designers can now work with Google Fonts complete library on text of any length and use a wide range of type controls to build clear, readable type systems through adjustments such as font size, weight and line spacing. Designers can also work with Web fonts side-by-side to quickly see at a glance what’s working and what’s not. Users are able to create more realistic compositions with floats, clears, margins, and padding controls, and a number of effects are available such as background colors, borders and text shadows. In our free version of the Typecast application, a user’s work can be exported as production-ready HTML and CSS, or PNG files, to share with others or merge with comps.
If Google users want to upgrade at any time to take full advantage of the thousands of other typefaces available in the app, including Fonts.com Web fonts (fonts.com/web-fonts); Typekit; Webtype and Fontdeck, or to share, test, or publish their designs with one click, the premium version starts at $29 and is available at typecast.com.
We hope that our free public version will foster more type lovers and over time cultivate more typography advocates. We think that’s good for the Web, clients, readers and designers everywhere.
Read more: http://bit.ly/1gKsvu3
Download Japanese Fonts now: http://bit.ly/19RNg5D
View Monotype’s OEM Font Catalog: http://bit.ly/1apiFHF
Monotype has engaged with several of Japan’s top typeface foundries and distributors to enhance company’s portfolio of high-quality Japanese fonts. Typefaces from Iwata, JiyuKobo, Motoya, Ricoh and Type Project comprise the latest additions, bringing the total to more than 500 high-quality Japanese fonts that can be licensed from Monotype for a wide variety of uses.
Monotype’s selection of Japanese typefaces now represents one of the world’s largest and most comprehensive portfolios of Japanese fonts. The latest additions – several of which are available for the first time outside of Japan – are licensed through Monotype’s direct sales channels and through the company’s Fonts.com and Linotype.com websites. In addition to licenses for Web fonts and traditional desktop fonts, licensing options are available for mobile applications, e-publications and Web-enabled services, as well as for OEMs and developers of consumer devices.
Monotype’s Japanese collection comprises a wide range of styles, including classic Mincho and Gothic designs, featuring several weights, as well as brush and decorative styles. Typefaces have been designed for optimal legibility and readability for both screen and print environments, and designs are able to complement Korean, Chinese and other language fonts that Monotype offers. In addition, certain faces have been designated by Monotype’s foundry partners as “universal design” fonts, which offer simplified strokes and other refinements that help to maximize on-screen clarity.
Licenses for Web and desktop fonts are available from www.fonts.com, www.linotype.com and direct channels, which also handle licenses for OEM customers. Licenses for iOS®- and Android™-based mobile apps, e-publications, and Web servers and applications are available from www.linotype.com. OEMs and developers may also visit Monotype’s OEM Font Catalog to view the Japanese fonts. In addition, Monotype type experts can be consulted to recommend Japanese typefaces that best match Latin-based designs and other language fonts, enabling a consistent appearance across multiple languages and writing systems.
HWT Gothic Round is the newest release from the Hamilton Wood Type Foundry. Gothic Round was first introduced as wood type by the George Nesbitt Co. in 1838. The font is a softened variation of a standard heavy Gothic typeface. The style evokes a much more recent history of the 1960s and 70s and can be seen in such places as donut shops and on children's toys as well as inspiration for such fonts as VAG Rounded.
Gothic Round has not previously been available as a digital font until now. The font was digitized by Miguel Sousa from a wide variety of historical sources, including visits to the Cary Collection at RIT (Rochester, NY), WNY Book Arts Center (Buffalo, NY) and the Hamilton Wood Type Museum (Two Rivers, WI). The result is a very solid and contemporary font with a 175 year history.
Different versions of Gothic Round were originally offered by several different wood type manufacturers, dating back to the George Nesbit design of 1838. Each design had their own quirks and defining characteristics. After Hamilton bought out Page, Wells and Morgan & Wilcox, they briefly offered the various cuts from their former competitors before standardizing.
Designer Miguel Sousa of Adobe considered many sources for the digitization project. The initial source material was found in the print studio of the Western New York Book Arts Center (WNYBAC), where lower case letters were only found for two of the four different sizes in the collection. However, in settling on which version would best inform this new digitization, Miguel also looked at specimens from the Massey Library (University of Toronto), Newberry Library in Chicago and wood type from the Cary Collection at RIT. In addition to WNYBAC, where he also printed, he also visited the Hamilton Wood Type Museum to become fully immersed in this project.
Ultimately, Miguel settled upon the use exemplars from multiple cuts to create a more pleasing hybrid. The uppercase, the figures, and the punctuation were based on 8-line print samples of the Heber Wells version (WNYBAC collection), while the lowercase was sourced from pictures of 4-line type of the Wm. Page version (Cary collection).
Visit P22's Behance page for photos and more background info on the development of this font from wood type to digital.
For more information regarding this release, check out the Hamilton Wood Type website.
HWT Gothic Round is available at an introductory discount through October 31st.
Check out the video - http://bit.ly/1awqG3i
Read more info - http://bit.ly/13C2CXB
Read the Enfocus announcement - http://bit.ly/1axmCjl
Monotype has announced the Monotype Baseline™ platform, a cloud-based developer platform that offers access to tens of thousands of fonts. The solution is designed to help OEMs, independent software vendors and developers build software products and connected devices that deliver the best user experiences.
Enfocus, a leading provider of tools that control the quality of PDF files for print during the document workflow process, is the first partner to implement Monotype Baseline capabilities. The company today announced the Enfocus PitStop 12 series of PDF preflight tools, which introduce the ability to replace missing or corrupted fonts in PDF files – a scenario that has plagued printers and publishers since the advent of digital publishing – by sourcing the correct fonts from the cloud. Using Monotype’s technology, PitStop 12 enables the automatic detection of missing or corrupted fonts, as well as the ability to automatically search to find the right ones to update the PDF with the correct fonts before it’s printed.
The Monotype Baseline platform debuts with secure, programmatic access to a searchable catalog of approximately 30,000 fonts via documented and licensed APIs. The fonts support more than 40 Latin-based and non-Latin languages, with more fonts expected to be available over time. The platform also includes functionality for user administration, authentication, billing and usage reporting of fonts used within partners’ products or services.
LTC Italian Old Style was originally released by P22/Lanston Type Company in 2006. The font, based on Frederic Goudy's interpretation of Nicholas Jenson's Roman face as well as other Renaissance Roman faces, has been newly updated by James Grieshaber for the Lanston Type Company. LTC Italian Old Style Pro is now offered as a pro font family containing 4 styles- Regular, Italic, Light and Light Italic. OpenType features include the original ligatures, small caps and expanded language coverage. The Roman styles, Regular and Light, also welcome the addition of ornaments.
LTC Italian Old Style Pro
Italian Old Style, designed by Frederic Goudy in 1924, was digitized by Paul Hunt in 2007. In 2013, it has been updated by James Grieshaber and is now offered as a pro font. The newly expanded pro font includes all of the original ligatures, plus small caps and expanded language coverage in all 4 pro styles- Regular, Italic, Light and Light Italic.
LTC Italian Old Style is not to be confused with the English Monotype font also called "Italian Old Style", which is an earlier design from 1911 based on William Morris's Golden Type that is based on Nicholas Jenson's Roman face. Goudy went back to Jenson's original Roman and other Renaissance Roman faces for his inspiration and the result is what many consider to be the best Renaissance face adapted for modern use.
Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles- Regular Pro and Light Pro.
The light weights of LTC Italian Old Style were digitized from larger display sizes (14, 18, 24, 30, 36 pt) and the regular weights were digitized from smaller composition sizes (8,10,12 pt.). The fitting for the regular weights is noticeably looser to allow for better setting at small sizes. Very few font revivals take this approach.
The LTC Italian Old Style Pro Family is being offered at a very special introductory price through August 31st. More details here:
LTC Italian Old Style Pro
Download the extension for free and use from any Fonts.com subscription plan – including free plans
Access to desktop fonts and Web fonts to boost creative freedom – yes! Through your favorite Adobe applications – yes!
The Fonts.com Extension for Adobe Creative Cloud allows you to try, install and synchronize desktop fonts directly from within Adobe apps including Photoshop, Illustrator and InDesign. This extension also works with any Fonts.com Web Fonts subscription plans, including free plans, making it free and easy to experiment with thousands of desktop fonts within your favorite design apps.
“The Fonts.com Extension liberates designers to put type first, and makes working with fonts easy, fast and fun,” said Chris Roberts, vice president and general manager of Monotype’s e-commerce group.
All the functionality of Monotype’s SkyFonts client for activating fonts is built into the extension. An unobtrusive window within the application allows subscribers to search for and activate fonts right in a document. Free plan subscribers can use the extension to initiate five minute trials of fonts while higher level subscribers can use the extension to install mockup fonts and desktop fonts included with their plans.
To get started:
1. Sign up for a Fonts.com Web Fonts subscription for free: http://bit.ly/15HRnN4
2. Download the Fonts.com Extension for Adobe Creative Cloud free: http://bit.ly/1enF4HB
3. Download SkyFonts at no cost and install it on one of your devices – click here: http://bit.ly/16p32PP
4. Read more on the Fonts.com blog: http://bit.ly/16uYJV7
See the typeface: http://bit.ly/1aURGWQ
View the SlideShare - http://slidesha.re/18N7JIW
Read the Blog Post - http://bit.ly/130kSX7
Review the press release - http://bit.ly/18Pa9a6
Meet the Metro Nova typeface family, new from Monotype. Designed by Monotype’s Toshi Omagari, Metro Nova is the next-generation version of William Addison Dwiggins’ Metro design, released into the Linotype library in 1930.
The initial Metro was designed for use in industry-standard typesetting machines for the printing of newspapers, magazines and posters from the late-19th century to the 1970s. Metro was a "duplexed" typeface, whereby a pair of styles, such as roman and italic, was drawn with matching individual character widths. Dwiggins' design took this into consideration.
Metro Nova comprises seven weights, from ultra thin to extra black in regular proportions, and six weights as condensed designs. Each has an italic counterpart for a total of 26 fonts. The family is available as OpenType Pro fonts, which provide for the ability to easily insert typographic features such as ligatures, fractions and alternate characters. Pro fonts also offer an extended character set to support most Central European and many Eastern European languages. Metro Nova may be licensed as either desktop fonts or Web fonts from www.myfonts.com, www.fonts.com or www.linotype.com.
The new fonts are also available as Web fonts through all Fonts.com Web Fonts paid subscription plans. In addition, Metro Nova is available as both Web fonts and desktop fonts through Fonts.com Professional and Master subscription plans.
Berlin, Germany – Wednesday 24 July 2013: FontFont announced today a brand new App+ license.
Comprehensive, affordable and available online, the new App+ License is ideal for apps, games, editable PDFs, and hardware.
With App+, customers can now embed all FontFonts in software, hardware and editable documents that can be viewed, printed or edited.
Available online with pricing based on the number of years, there is now no need to buy a license for every app or device, one license will cover them all.
HWT Slab features two styles-Antique and Columbian. These two extra bold fonts are classic slab serif wood type styles with one detail of difference. Columbian is an extra bold Clarendon wood type that was manufactured by many of the wood type manufacturers in the late 19th century. "Clarendons" feature bracketed or rounded serif joins whereas "Antique" was a class of typefaces that features squared off slab serifs. Some type designs have only minor differences from others. The Columbian design is essentially identical to Wm. Page & Co.'s "Antique no. 4", with the difference being the bracketed serifs.
In researching material for the digitization of Columbian, we started with a 15 line font identified as "Columbian" shown in the Angelica Press wood type portfolio (printed in 1976). This font is in fact "Page Antique no. 4". Comparing Antique #4 to Columbian specimens from Hamilton and other manufacturers confirms the only real difference is the serif treatments. Therefore, both fonts are presented as a pair. Each font features a full Western & Central European character set.
HWT Slab digitized by Tim Martin.
For more detailed information regarding this release and to learn more about the making of the font, visit the Hamilton Wood Type Foundry website.
Special introductory pricing available through July.
Hamilton Wood Type Foundry
Download fonts - http://bit.ly/17prSnJ
Read press release - http://bit.ly/19UIqUw
Learn more here - http://bit.ly/19UPi4g
Monotype has released more than 8,600 Web fonts on Linotype.com , now available for download and self-hosting. Customers are also able to save 50 percent off the desktop version of a font when purchasing both the desktop and Web font versions.
Some of the world’s most popular typefaces are from the Linotype® collection, such as the Helvetica®, Optima® and Trade Gothic® families. Today they’re available for both the Web and print from Linotype.com, along with selections from the Monotype® Libraries, which comprise collections from the company’s Monotype, Linotype, ITC®, Bitstream® and Ascender® foundry brands. Additional fonts, including selections from newly represented typeface foundries, are expected to be added on an ongoing basis.
Linotype.com customers can now quickly access one of the most comprehensive selections of Web fonts and pay for only what’s needed. Pricing is based on page views, with no further payment required until the page view allowance is used up. Customers sign up for a minimum of 250,000 page views for all their registered Web domains. Web font pricing for the first 250,000 page views is based on the price of a desktop version of a font, with most priced at $29/€29 (including VAT) or less. Alternatively, customers can purchase a package of page views greater than 250,000, which decreases the price-per-page-view cost on a progressive scale. When page view allowances near completion, customers are notified. They can also check an online report, which lists page view activity per domain.
When purchasing Web fonts, customers specify the character set of the fonts, which ensures that they provide the specific language support required or OpenType® features needed, such as discretionary ligatures, small caps and fractions. Customers then receive a kit that contains the fonts, which support all major Web browsers, files used for tracking page views, a CSS file for defining the fonts for use on Web pages, and instructions for adding the fonts to the customer’s server. Customers can return at any time to rebuild their kit should data be updated or if their character set requirements change. The range of Web fonts available on Linotype.com supports more than 40 languages or writing systems, including Latin-based/European languages, Cyrillic, Traditional Chinese, Simplified Chinese, Japanese, Korean, Thai, Arabic and Hebrew.
Download FontExplorer X Pro 4.0: http://www.fontexplorerx.com/
Check out Fonts.com Subscription Plans: http://bit.ly/12j0rc5
Read Blog Post: http://bit.ly/11TONOD
Monotype has introduced version 4.0 of its award-winning FontExplorer® X Pro font management solution for Macintosh® platforms. The new release, which breaks new ground with features such as support for Web fonts, OpenType® features and Monotype’s SkyFonts™ technology, is available separately or as part of Monotype’s top-level Fonts.com Web Fonts subscription plans. Customers are able to take advantage of advanced capabilities for selecting, accessing and managing large numbers of fonts quickly and easily.
FontExplorer X Pro 4.0 introduces several features, including:
• Web font support – FontExplorer X Pro can now import, preview and organize Web fonts, including WOFF (Web Open Font Format) and EOT (Embedded OpenType) files.
• Website font preview – Selected elements on any website can be viewed within FontExplorer X Pro where users can customize the fonts, colors and spacing of text.
• Slide show feature – Selected fonts can be displayed as a slide show and can overlay documents to help designers gauge how font selections will appear in projects.
• Mini view – FontExplorer X Pro can now work in a small window, allowing for more screen space for design apps, while providing easy access to the user’s font library.
• Enhanced smart sets – One of the most popular features of FontExplorer X Pro, smart sets operate as filters for designers to access fonts that meet predetermined criteria. Smart sets now support multiple languages, as well as OpenType features available within certain fonts.
• Improved main font list – Enhancements include the ability to view OpenType feature information and preview font selections using either a multi-line or waterfall view.
• SkyFonts Support – FontExplorer X Pro now supports SkyFonts technology, Monotype’s platform for easily trialing, installing and synchronizing desktop fonts from Fonts.com or Google Fonts across workstations.
• Connectivity through Fonts.com Master and Professional subscription plans – Subscribers of either plan can take advantage of all the benefits of FontExplorer X Pro through built-in SkyFonts technology.
Monotype’s Fonts.com Master and Professional subscription plans feature access to more than 20,000 Web fonts, and more than 7,000 traditional desktop fonts, including selections from the Monotype® Libraries which comprise the Monotype, Linotype®, ITC®, Bitstream® and Ascender® collections. Subscribers also receive SkyFonts technology; Monotype’s Typecast™ application, a browser-based tool for designing Web pages with Web fonts; and now FontExplorer X Pro.
Further information about Fonts.com subscription plans is available at http://www.fonts.com/web-fonts.
Fonts.com Web Fonts Master and Professional subscribers are provided access to version 4.0 for Mac® platforms and version 2.4 for Windows® systems, which includes the capability to connect with SkyFonts technology. FontExplorer X Pro for the Mac may be purchased separately for $89/€89 (including VAT) through the all-new fontexplorerx.com store. Customers using FontExplorer X Pro Mac 2.0 or later can upgrade to version 4.0 for $39/€39 (including VAT). Customers using FontExplorer X Pro 2 for Windows can download version 2.4 for free. FontExplorer X Pro licenses purchased on or after March 1, 2013 may be eligible for a free upgrade. Further information is available at http://www.fontexplorerx.com/.
This late 19th century design conjures up early 20th century Dutch DeStijl lettering with a mostly strict adherence to right angles and minimal stroke modulation. Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgan & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgan & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021.
HWT Geometric has been expanded digitally to include a Regular Condensed version. A heavier wood type specimen was found from an unknown manufacturer and digitized as it was found, resulting in the HWT Geometric Shopworn and Shopworn Inked variations. These digital versions all include a full Western and Central European character set of over 380 glyphs.
Digitized by James Grieshaber
Special Thanks to David Shields for background research.
For more information on this release- HWT Geometric
Special Introductory Offer available through June.
Hamilton Wood Type Foundry