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Typography News
P22 Type Foundry proudly announces the release of P22 Flora Mambo, a set of fonts based on the distinctive style of 20th century illustrator Jim Flora.
Most widely known for his Jazz album covers of the 1940s & 50s, Flora's style shows his fantastic imagination and bold graphic style. The P22 Flora Mambo font set contains a two-part font that allows you to achieve two-color text in the style of Flora’s iconic 1955 album design “Mambo for Cats” as well as a set of 72 “Flornaments.”
Most computer fonts are limited to a single color. With P22 Flora Mambo, two colors can be achieved in any layout program. The main font, P22 Flora Mambo, is a quirky hand rendered sans serif face and can be used by itself. Used in combination, the second font, P22 Flora Mambo B, can be used to create a second color in the style of "Mambo for Cats" and is not intended to be used by itself.
Also included in this set are 72 “Flornaments” featuring a variety of Flora's illustrative styles from his Jazz album covers to children's books to his fine art prints.
The fonts contained in the P22 Flora Mambo Set are licensed through the Estate of James Flora and JimFlora.com.
Boston, MA and Elk Grove Village, IL -- August 19, 2010 -- The Font Bureau, Inc. and Ascender Corporation today announced Webtype.com, a new venture to serve web designers and developers with publication-quality fonts to improve the typography and readability of websites. The service is available now at http://www.Webtype.com with a variety of custom web font options to accommodate websites of all sizes.
In the past, technical issues limited how fonts could be used on websites, but a lot has changed in the last couple years. Web designers have probably heard about new options for using fonts other than the handful of “web-safe” choices like Verdana and Georgia in their web designs.
As all the major web browsers have adopted support for the @font-face technology for linking fonts to web pages, new web font services have come on the market. While some of the existing services offer viable solutions for some cases, it was decided that the only way to maintain certain essential requirements was to start from scratch and build a new service from the ground up.
The result of that decision has been realized as Webtype, a collaborative effort between Font Bureau, Ascender Corporation, Roger Black, Petr van Blokland, and DevBridge. Within that group sit some of the most respected leaders in type and technology -- people uniquely suited to take on the issue of web fonts.
So, what is so different about Webtype? Why bother with a whole new web font service?
One significant distinction is the licensing model. The Webtype service is modular by design, so you only pay for the fonts you need and for the level of traffic that your site draws.
Another major feature is that any font on Webtype.com can be tested for free for a month. This way designers and their clients have an opportunity to evaluate any of the fonts in real-world settings without the risk or guesswork sometimes associated with font licensing. Also, building on their history of custom font work for print publications -- services like feature expansions or proprietary typeface development -- Font Bureau and Ascender can provide specialized fonts through Webtype to meet any individual client’s particular needs for their website.
While a flexible licensing model, free trials, and custom services are important, the most crucial component that sets Webtype apart is the standard of quality for the fonts offered.
For starters, each Webtype font has been carefully ‘hinted’: instructions are programmed into a font to optimize how it is rendered on screen. While such instructions are often automated, only a human eye can evaluate and tune a font to the optimal level of quality. Therefore, each and every font on Webtype has been methodically hinted by Tom Rickner and the experts at Ascender Corporation, the people behind many of the web-safe fonts we’ve all relied on in the past. The result is type that renders crisply and cleanly across all browsers and operating systems.
But hinting isn’t everything. When it comes to the nitty-gritty task of setting paragraphs of small text onscreen, even the best hinting in the world can’t ensure the success of any font. Because the computer screen is a unique format with its own particular properties (and constraints), achieving the most readable text fonts for the screen requires that they be designed from the ground up, with all the technological quirks in mind.
Font Bureau and Ascender have done just that, investing significant amounts of time to develop the Reading Edge™ (RE) series of fonts. These fonts are styled to correspond to existing print typefaces from the Font Bureau library, but are in fact totally new designs produced specifically for setting highly readable onscreen text. The series, which is only available through Webtype, currently consists of five font families and provides web designers with a flexible palette of hard-working text typefaces.
“Webtype is the first service that offers web fonts tuned for reading at small sizes while at the same time providing web designers with an interesting choice of typefaces” said noted publication designer Roger Black.
In addition to the new RE series, users can also expect to see many of the classic Font Bureau typefaces optimized and made available for web use through Webtype, along with select fonts from other distinguished type designers and foundries. Keep an eye on webtype.com for a steady stream of new fonts and functionality over the coming weeks and months.
About Font Bureau
The Font Bureau Inc. was founded in 1989 by noted publications designer and consultant Roger Black and type designer David Berlow to serve the emerging needs of computer-based magazine and newspaper publishers seeking unique typographic identities. During the past 21 years, Font Bureau has designed more than 2,000 fonts for more than 300 publications. Many of these fonts have become part of Font Bureau’s Retail library. The company remains small and privately held, with freelance and independent designers providing infusions of creativity. Full-time staff and designers direct the studio operations in Boston, which serves as the company’s headquarters. http://www.fontbureau.com/
About Ascender Corporation
Ascender’s founders are font industry experts who have been involved in developing many of the most important and influential fonts used in computers, mobile devices, consumer electronics, and software products. Ascender provides multilingual, custom font development for a wide range of customers including creative professionals, enterprises, software developers, and hardware manufacturers. Ascender also provides an extensive collection of TrueType & OpenType fonts for download to graphic designers and consumers through its font websites, including www.AscenderFonts.com.
About Roger Black
For more than 35 years, working with magazines like Rolling Stone, newspapers like The New York Times, and websites like Bloomberg.com, Roger Black has been developing ways to communicate content more effectively. His teams have redesigned Reader’s Digest, Esquire, MIT News, The Nation (Bangkok), Los Angeles Times, and The Washington Post. Black is a partner in the Font Bureau and Danilo Black and works from a small office in New York, Roger Black Studio. http://www.rogerblack.com/
About Petr van Blokland
Petr van Blokland (1956, The Netherlands) graduated Cum Laude from the graphic arts program at the Royal Academy of Fine Arts in The Hague. He has been a freelance designer since 1980. Van Blokland specializes in type, typography, and systematic design -- typically building directories, forms systems, corporate identity programs, etc. He has taught graphic design, typography, and type design for many years at the Academy of Fine Arts, Arnhem, and the Royal Academy of Fine Arts in The Hague. His first typeface was Proforma, and his work brought him ATypI’s coveted Charles Peignot Prize in 1988. Buro Petr van Blokland + Claudia Mens can be found at http://www.petr.com
About DevBridge
DevBridge specializes in web design, web application development, e-commerce systems, website management and reporting. DevBridge has a diverse client base which represents its strength in creating innovative technology solutions to a variety of business problems. The DevBridge team has helped its clients create loyal customers, improve leads & sales generation, and solve business inefficiencies. DevBridge is based in Chicago, IL. http://www.devbridge.com
International Competition to Recognize Designers and Websites that Integrate Web Fonts to their Greatest Use
WOBURN, Mass., Aug 17, 2010 -- Monotype Imaging Holdings Inc. (Nasdaq: TYPE), a leading global provider of text imaging solutions, has announced the Web Font Awards, an international competition designed to recognize websites that incorporate exceptional use of Web fonts. The Web Font Awards will be sponsored by Monotype Imaging with support from Carsonified, a UK-based company that produces events for Web professionals.
"Now that Web fonts are a reality, Web designers worldwide are able to experience the beauty of typographic choice," said Allan Haley, director of words and letters at Monotype Imaging. "The Web Font Awards will be aimed at celebrating this newfound freedom, while also promoting awareness, adoption and outstanding use of Web fonts that exemplify the power of typography - online."
Qualifying designs can be built with Web font technology from any provider, including self-built solutions, as long as the site or Web page uses actual fonts.
Further information, including submission guidelines, eligibility requirements, judging criteria and procedures, award ceremony and prize details will be announced next month and published on www.webfontawards.com, where qualifying Web designs will be posted and visitors can rate designs. Designers and agencies can sign up now at www.webfontawards.com to receive notification when the call for entries is open and contest rules are posted.
In addition to Carsonified, producer of the Future of Web Design conferences, Monotype Imaging is working with media partners to present the Web Font Awards, including Cincinnati-based HOW magazine, which serves graphic design professionals; Creative Review, a UK-based publication focused on the communication arts; Slanted, a Germany-based typography magazine; and Novum, a graphic design magazine, also headquartered in Germany. Additional support will be provided by The Association Typographique Internationale, or ATypI, which is a nonprofit global forum and focal point for the type community and business.
About Monotype Imaging
Monotype Imaging combines technology with design to help the world communicate. Based in Woburn, Mass. with offices in the U.S., Europe and Asia, Monotype Imaging brings text imaging and graphical user interface capabilities to consumer electronics devices such as laser printers, copiers, mobile phones, digital televisions, set-top boxes, navigation devices, digital cameras, e-book readers and consumer appliances. The company also provides printer drivers and color imaging solutions to printer manufacturers and OEMs (original equipment manufacturers). Monotype Imaging technologies are combined with access to more than 13,000 typefaces from the Monotype®, Linotype® and ITC® typeface libraries - home to some of the world's most widely used designs, including the Times New Roman®, Helvetica® and ITC Franklin Gothic™ typefaces. Fonts are licensed to creative, business and Web professionals through e-commerce portals, direct and indirect sales and custom design services. Monotype Imaging offers industry-standard font solutions that support all of the world's major languages. Information about Monotype Imaging can be found at www.monotypeimaging.com.
Monotype is a trademark of Monotype Imaging Inc. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Times New Roman is a trademark of The Monotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Linotype is a trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Helvetica is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. ITC is a trademark of International Typeface Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. ITC Franklin Gothic is a trademark of International Typeface Corp. and may be registered in certain jurisdictions. All other trademarks are the property of their respective owners. © 2010 Monotype Imaging Inc. All rights reserved.
 The annual conference "Tage der Typografie" are being held for the 12th time this year from the 5th to 7th November in Düsseldorf, Germany. The organiser Peter Reichard invited Veronika this year to give a weekend workshop as part of the events.
This workshop is aimed to graphic design professionals and students. It may be also of interest to calligraphers, editorial designers, information designers and industrial designers. By means of tracing pre-selected letters, participants will experiment with structural elements of lettershapes such as contrast, connections, weight of strokes and curve velocity. They will also learn the basics behind sketching an alphabet. This will be aided by short lessons that will establish essential knowledge units that support the theoretical framework and the concepts behind the exercises. The resulting characters will be openly discussed and corrections and alternatives will be shared among participants. During the second day, students will digitize their work according to a specific set of instructions and will have the opportunity to touch on more advanced questions, such as diacritics, coding, font family development and font production.
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FAN SCRIPT - A NEW SUDTIPOS RELEASE
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We are proud to announce the release of our new typeface Fan Script
.
A typeface basically focus in sports but with a strong contemporary attitute
and ready to be used in any kind of projects.
We have designed a PDF specimen to show some of the possibilities of the font.
Please take a look at our Behance page for a fast preview or download the hi-res Fan Script Specimen
We hope you enjoy that new release.
More fonts > www.sudtipos.com/
Panno Text is a reworking and extension of Panno (now renamed Panno Sign) and is optimised for continuous text. Similar to its signage counterpart it has narrow proportions, a very large x-height and open counters. The design of Panno can be characterised as simple and robust with little difference between its thickest and thinnest parts. Panno can serve as a perfect replacement for DIN in situations where the latter might feel too constructed or too cold. It will feel comfortable in many different environments whether that might be in editorial use, in corporate identities or in manuals.
In comparison to the signage version many shapes have been carefully adapted and the spacing has been completely reworked to assure excellent legibility in small sizes. Furthermore the family has been expanded into multiple weights and to complete the typographical palette each weigth comes with a proper italic as well. Every version sports an extended Latin character set and various OpenType features that give access to fractions, different styles of numbers and alternative versions of glyphs.
Bold Monday
http://www.boldmonday.com/en/pannotext/
http://www.boldmonday.com/en/pannosign/
http://www.boldmonday.com
Just Another Foundry proudly presents:
Brian Jaramillo's fabulous new display font, JAF Peacock.
Peacock is a collaboration between Brian Jaramillo and Tim Ahrens. Jaramillo completed most of the glyphs in 2007, and contacted Ahrens to help with the OpenType. Ahrens helped refine the typeface, and set-up the OpenType features. After a period of inactivity, the duo decided during the summer of 2010 to give Peacock a final push to retail.
The typeface features 1239 glyphs.
Contextual and stylistic alternates are accessible via the OpenType pop-up menu on the Character palette in InDesign. In addition, any alternate glyphs can be selected manually via the Glyph palette.
From the filmmakers' blog at http://signpaintermovie.blogspot.com/:
The Sign Painter movie is currently in Production as of March 2010. This documentary is about sign painters in America. Those who were and still are walking the streets and using their talent to get a message across. You see their work daily on windows, sandwich-boards, boats, cars, billboards, in businesses, playgrounds, farmers markets and even theme parks to name a handful of spots.
Who are these people? Where did they learn their trade and is it a dying craft? Directors Faythe Levine & Sam Macon will bring you their story over the next few years and document the process here on this blog.
We welcome any photos, stories and connections you would like to send us at signpaintermovie@gmail.com
 LAC Sans was developed, in collaboration with design studio FM milano, for a pitch for the new identity program of the Center of Contemporary Art in Lugano, Italy. It is a vast project embracing many different sectors of the center, from music to theater to art. Therefore FM milano's idea was to connect all these entities with a unique typeface that would give the center recognisibility and character. The first weight to be developed was a display version to be used on posters, in the logotype and other promotional material. The typeface would then, if accepted, be expanded into a broader range of weights.
The concept of the whole identity derives from the special place Lugano, a lake surrounded by mountains and particularly the Monte Brè that is visible from the new building of the art center. The visuals are a representation of reflections, natural colours and triangular shapes of mountains.
The brief for the typeface was based on these visual ideas. It described to combine swiss typographic tradition with the specifically natural environment of Lugano and its organic shapes. The result is a rather dark display typeface, qute stiff in structure but with playful details, such as the curved outstrokes and soft stem terminals.
      
Tan.
More high quality fonts from TypeTogether
ABSOLUTELY FREE!!!
The OpenType version, full commercial licence, of Rue Display Semibold can be downloaded free of charge. As a part of TypeTogether's permanent efforts to promote and encourage high quality typography we are distributing this FREE COMMERCIAL LICENCE of Rue Display Semibold, the beautiful organic sans serif designed by Winnie
DOWNLOAD: http://www.type-together.com/index.php?action=carro/getFreeFont_3
USE CODE TO DOWNLOAD: 5bd6cdcc
It’s here! The first official Bold Monday type specimen: A5 format, 64 beautifully designed pages, produced in two colour offset printing, glue bound and showing all of our typeface designs including custom work and upcoming releases.
With guest contributions by Donald Beekman, Liza Enebeis & Marc van der Heijden, Koen Geurts, Bart de Haas, Léon&Loes, Max Kisman, René Knip, Dennis Koot, Indra Kupferschmid, Tobias Peier, R2 and Jesse Skolnik.
Order your copy now at http://www.boldmonday.com/en/specimen/
Bold Monday
www.boldmonday.com
FF Suhmo is inspired by classic Egyptian and typewriter fonts such as Courier and American Typewriter, which feature headline and text use. This impressive duality was a guideline for the concept of Alex Rütten.
At the same time, many formal details were derived from the typical neon-lettering you can find on aged Italian restaurants in Germany. Suhmo has short ascenders and descenders and a generous x-height, making it a good choice for editorial design. It combines simplicity and functionality with playfulness, offering interesting details such as loops and swashes and a slight stroke contrast. Its varied details are unobtrusive in text sizes while developing character and sparkle in headlines. FF Suhmo’s extensive character set includes numerous special characters and ligatures, several figure sets and small caps throughout all styles. The Suhmo family consists of 4 weights: Light, Regular, Bold and Black, each with an Italic. The weights were staggered to complement each other within a layout, the Black corresponding to the Regular and the Light corresponding to the Bold weight, allowing words or phrases to be clearly stressed within a text. The Italics are lighter than the Roman and have a relatively slight angle of slope. The forms are derived from a manual writing process and often cross the base-line or the x-height.
205 is a new type foundry founded in 2010 by Damien Gautier (Lyon, France)
Almost display fonts but not only...
Opentype fonts, it's sure! With opentype features (ligatures, alternate glyphs, etc.)
Already available :
– Amiral : a strong stencil typeface (uppercases only)
– Bloo : a four cut font in homage to "Codex80" by Jean Alessandrini
– Caporal : an elegant stencil font
– Colonel : a four cut stencil font – uppercases and lowercases – : cut, rounded and sharp angles
– LeChaufferie : a display font with 1200 ligatures !
– Robin : a dingbats font with infinite possibilities thanks to 5000 kerning pairs
Éditions Deux-Cent-Cinq publishes also books on typography, architecture and contemporary photography.
Visit the website : http://www.editions205.fr
205 is a new type foundry founded in 2010 by Damien Gautier (Lyon, France)
Almost display fonts but not only...
Opentype fonts, it's sure! With opentype features (ligatures, alternate glyphs, etc.)
Already available :
– Amiral : a strong stencil typeface (uppercases only)
– Bloo : a four cut font in homage to "Codex80" by Jean Alessandrini
– Caporal : an elegant stencil font
– Colonel : a four cut stencil font – uppercases and lowercases – : cut, rounded and sharp angles
– LeChaufferie : a display font with 1200 ligatures !
– Robin : a dingbats font with infinite possibilities thanks to 5000 kerning pairs
Éditions Deux-Cent-Cinq publishes also books on typography, architecture and contemporary photography.
Visit the website : http://www.editions205.fr
205 is a new type foundry founded in 2010 by Damien Gautier (Lyon, France)
Almost display fonts but not only...
Opentype fonts, it's sure! With opentype features (ligatures, alternate glyphs, etc.)
Already available :
– Amiral : a strong stencil typeface (uppercases only)
– Bloo : a four cut font in homage to "Codex80" by Jean Alessandrini
– Caporal : an elegant stencil font
– Colonel : a four cut stencil font – uppercases and lowercases – : cut, rounded and sharp angles
– LeChaufferie : a display font with 1200 ligatures !
– Robin : a dingbats font with infinite possibilities thanks to 5000 kerning pairs
Éditions Deux-Cent-Cinq publishes also books on typography, architecture and contemporary photography.
Visit the website : http://www.editions205.fr
Monotype Imaging Holdings Inc. (Nasdaq: TYPE), a leading global provider of text imaging solutions, has announced that fonts from its Helvetica®, Frutiger®, Futura® and Garamond typeface families are shipping with CorelDRAW® Graphics Suite X5, the newest professional graphics applications suite from Corel Corp. Comprising 32 fonts from the Linotype® collection, the designs have also marked their debut in any CorelDRAW product.
“These classics represent some of the world’s most popular fonts of all time, now part of CorelDRAW,” said John Seguin, executive vice president of Monotype Imaging. “By working closely with its CorelDRAW Graphics Suite user community to bring forward meaningful features, Corel recognizes the tremendous value of type and its importance to CorelDRAW Graphics Suite users.”
“Text is a central piece of graphic communications. The importance of fonts has never diminished and in fact can be seen as more critical than ever, especially when considering the worldwide distribution power of the Internet,” said Shawn Cadeau, senior vice president, Global Product Marketing & Product Management of Corel. “CorelDRAW Graphics Suite is clearly enhanced with the inclusion of these premier faces.”
The first Helvetica fonts were created more than 50 years ago for fonts for metal type. Linotype redrew and extended the family in the 1980s for use in phototypesetters, introducing the typeface as Neue Helvetica. Today, Helvetica is considered one of the most famous and widely used typefaces of all time, popular in branded identities, advertising, signage and other commercial forms of communication. Helvetica is also seen in consumer electronics devices such as mobile phones and digital games.
The original Frutiger typeface was released in the 1970s after debuting in signage at the Charles-de-Gaulle Airport near Paris. More than 30 years later, Akira Kobayashi, head of typography at Linotype GmbH, began collaborating with the typeface’s designer, Adrian Frutiger, to build upon the family and refine aspects such as character spacing and legibility.
The Futura design, released in 1928 by typeface designer Paul Renner, is based loosely on three shapes – the circle, triangle and square. The Germany-based Bauer Type Foundry assisted in turning the geometric forms into a type family, which Renner improved over time to enhance legibility. Today, Futura remains a popular choice for expressing strength, elegance and conceptual clarity.
The Garamond design dates back to Claude Garamond, a punchcutter and type designer from the early 16th century. The Garamond #3 typeface, included in the latest release of CorelDRAW Graphics Suite, is based on a variation from the early 20th century that was modeled after the forms of Jean Jannon, a French printer who created a version of Garamond about 60 years after Garamond’s death.
Monotype Imaging’s fonts that are a part of CorelDRAW Graphics Suite X5 are based on the OpenType® font format, which offer an extended character set to support the English and Romance languages, as well as most Central European and Eastern European languages. Helevtica, Frutiger and Futura are also featured as OpenType Pro fonts, which provide the ability to use advanced typographic features and effects, such as the automatic insertion of old style figures, ligatures and small capital letters.
CorelDRAW Graphics Suite X5
With more than 50 new and enhanced features, CorelDRAW Graphics Suite X5 includes major enhancements to asset management, color management and Web graphics. A wide variety of learning resources and additional content has also been added. CorelDRAW Graphics Suite X5 is available in English, French, German, Italian, Spanish, Brazilian Portuguese, Russian, Polish, Czech, Swedish, Finnish, Hungarian, Turkish and Dutch. Further information about CorelDRAW Graphics Suite, in addition to a free, fully-functional downloadable trial version, are available at www.corel.com/coreldraw.
About Monotype Imaging
Monotype Imaging (Nasdaq: TYPE) combines technology with design to help the world communicate. Based in Woburn, Mass. with offices in the U.S., Europe and Asia, Monotype Imaging brings text imaging and graphical user interface capabilities to consumer electronics devices such as laser printers, copiers, mobile phones, digital televisions, set-top boxes, navigation devices, digital cameras, e-book readers and consumer appliances. The company also provides printer drivers and color imaging solutions to printer manufacturers and OEMs (original equipment manufacturers). Monotype Imaging technologies are combined with access to more than 13,000 typefaces from the Monotype®, Linotype and ITC® typeface libraries – home to some of the world's most widely used designs, including the Times New Roman®, Helvetica and ITC Franklin Gothic™ typefaces. Fonts are licensed to creative, business and Web professionals through e-commerce portals, direct and indirect sales and custom design services. Monotype Imaging offers industry-standard font solutions that support all of the world's major languages. Information about Monotype Imaging can be found at www.monotypeimaging.com.
Monotype is a trademark of Monotype Imaging Inc. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Times New Roman is a trademark of The Monotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Linotype is a trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Helvetica and Frutiger are trademarks of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. ITC is a trademark of International Typeface Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. ITC Franklin Gothic is a trademark of International Typeface Corp. and may be registered in certain jurisdictions. Futura is a registered trademark of Bauer Types S.A. CorelDRAW is a trademark or registered trademark of Corel Corp. and/or its subsidiaries. OpenType is either a trademark or registered trademark of Microsoft Corp. in the U.S. and/or other countries. © 2010 Monotype Imaging Holdings Inc. All rights reserved.
Monotype Imaging Holdings Inc. (Nasdaq: TYPE), a leading global provider of text imaging solutions, has released the 16-font ITC New Esprit™ typeface family into the ITC® typeface collection. Available in both text and display versions, ITC New Esprit can be viewed, licensed and downloaded from the company’s Fonts.com, ITCFonts.com and Linotype.com e-commerce sites.
“ITC New Esprit beautifully blends precision and legibility with personality and lyricism,” said Allan Haley, director of words and letters at Monotype Imaging. “It’s also an exceptionally comprehensive typeface family.”
ITC New Esprit was created by Jovica Veljović, who designed the ITC Esprit® typeface more than 25 years ago. Veljović took the basic letterforms of his original typeface to create two variants of ITC New Esprit: one for improved text composition and the other for display typography. “At first, I wanted only to clean up a few characters and expand the kerning pairs,” said Veljović. “I soon realized that some characters could benefit by more refined shapes and proportions. I ended up working on just about every character in the original design.”
The text designs are characterized by strong serifs, a moderate contrast in stroke weight and an ample lowercase x-height to aid readability. To help ensure optimum readability at small text sizes, ITC New Esprit text fonts are also designed with slightly wide proportions and sturdy thin strokes.
The display designs are more condensed than their text counterparts. “The condensed nature of the display faces translates to space saving benefits for graphic communicators,” said Haley. “Veljović also imbued subtle design touches that become more profound at large sizes, creating a vitality that is ideal for display typography.”
ITC New Esprit comprises 16 typefaces that are available in four weights (from regular to black), each with an italic counterpart in the text and display variants. All ITC New Esprit fonts are available in the OpenType® format, which supports both Windows® and Macintosh® platforms. Selections are also offered as OpenType Pro fonts, which enable the ability to apply advanced typographic features and effects, such as the automatic insertion of old style figures, ligatures and small capital letters. ITC New Esprit Pro fonts provide an extended character set to support the English and Romance languages, in addition to most Central European and Eastern European languages.
Availability
Individual fonts, selection packs and typeface families can be viewed, purchased and downloaded from www.fonts.com, www.itcfonts.com and www.linotype.com. Customers may also contact Monotype Imaging in the U.S. toll-free at 800-424-8973, or in Europe at +44 (0)1737 765959, or 001781 970-6020, option 2. Linotype in Germany can be reached at +49 (0) 6172 484-418. Customers from other parts of the world may dial 001 781 970-6020 (U.S.).
About Monotype Imaging
Monotype Imaging (Nasdaq: TYPE) combines technology with design to help the world communicate. Based in Woburn, Mass. with offices in the U.S., Europe and Asia, Monotype Imaging brings text imaging and graphical user interface capabilities to consumer electronics devices such as laser printers, copiers, mobile phones, digital televisions, set-top boxes, navigation devices, digital cameras, e-book readers and consumer appliances. The company also provides printer drivers and color imaging solutions to printer manufacturers and OEMs (original equipment manufacturers). Monotype Imaging technologies are combined with access to more than 13,000 typefaces from the Monotype®, Linotype® and ITC® typeface libraries – home to some of the world's most widely used designs, including the Times New Roman®, Helvetica® and ITC Franklin Gothic™ typefaces. Fonts are licensed to creative, business and Web professionals through e-commerce portals, direct and indirect sales and custom design services. Monotype Imaging offers industry-standard font solutions that support all of the world's major languages. Information about Monotype Imaging can be found at www.monotypeimaging.com.
Monotype is a trademark of Monotype Imaging Inc. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Times New Roman is a trademark of The Monotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Linotype is a trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. Helvetica is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. ITC and Esprit are trademarks of International Typeface Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain jurisdictions. ITC New Esprit and ITC Franklin Gothic are trademarks of International Typeface Corp. and may be registered in certain jurisdictions. Windows and OpenType are either registered trademarks or trademarks of Microsoft Corp. in the U.S. and/or other countries. Macintosh is a trademark of Apple Inc. registered in the U.S. Patent Office and other countries. All other trademarks are the property of their respective owners. © 2010 Monotype Imaging Inc. All rights reserved.
# # #
Contact:
Monotype Imaging Inc.
Vikki Quick, 781-970-6115
vikki.quick@monotypeimaging.com
Monotype Imaging Ltd. (UK/Europe)
Julie Strawson, +44 (0) 1737 781624
jl.strawson@monotypeimaging.co.uk
Linotype GmbH
Lorenz Schirmer, +49 (0) 6172 484-470
lschirmer@linotype.com
We are proud to announce the release of Condiment, the lastest Sudtipos addition to your typographic design recipes.
About Condiment.
Condiment adds flavor to your design. The new font by Koziupa and Paul’s is prepared of powdered soft shapes mixed with brush-drawn letters and tasty alternates conveniently tucked into the OpenType programming (for those programs that support such functionality.) The font includes many alternates and support for Latin-based languages (Including Central European, Baltic, Turkish and Welsh).
Did you know that we have a more active Sudtipos page @Facebook? Check www.facebook.com/sudtipos
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Sudtipos
Elk Grove Village, IL -- July 13, 2010 -- Ascender Corporation is pleased to announce that the Canada Type font design studio has come to a font distribution agreement with Ascender.
Rebecca Alaccari and Patrick Griffin founded the Toronto-based Canada Type back in early 2004. Since its establishment, Canada Type has created a variety of high-quality typefaces popular with design professionals and creative enthusiasts. The Canada Type fonts have appeared on everything from large corporate projects to small personal design work.
“We don’t believe people should have to choose between quality and creativity when choosing a font,” said Griffin, co-founder of Canada Type. “We feel Ascender shares this belief. It is reflected in their passion for creating and licensing high quality, innovative typefaces. We look forward to seeing where Ascender can take our font collection.”
The Canada Type font collection will add a number of enhanced versions of historical typefaces and expertly-designed original fonts to Ascender’s diverse collection of fonts. This includes an impressive lineup of popular script fonts and a variety of exclusive psychedelic fonts from the ‘60s and ‘70s. The Canada Type fonts are available in both TrueType and OpenType formats and can be found on the Ascender Fonts website. For more information or to view the fonts visit: http://www.ascenderfonts.com/foundry/canada-type/
Ascender is also proud to offer the Canada Type fonts to its broad range of OEM/ISV customers including video game and Blu-ray publishers, software developers, web server application developers, and hardware manufacturers.
About Ascender
Ascender Corporation is a leading provider of advanced font products. Ascender’s founders are font industry experts and have been involved in developing many of the most important and influential fonts used in computers, mobile devices, consumer electronics and software products. Ascender provides multilingual, custom font development for a wide range of customers including creative professionals, enterprises, software developers and hardware manufacturers. Ascender also provides an extensive collection of TrueType & OpenType fonts for download to graphic designers and consumers through its font websites, including www.AscenderFonts.com
Contact: Bill Davis, Vice President
Ascender Corporation
25 Northwest Point Blvd, Suite 225 Elk Grove Village, IL 60007 USA
Phone: (847) 357 0730
Fax: (847) 357 0731
English: http://www.ascendercorp.com
German: http://www.ascendercorp.de
From the end of September 2010, expert classes on type design will be provided by the Plantin Society in Antwerp. The secrets behind the contemporary formal typographic representations of the Latin script, i.e. the underlying harmonic, proportional and rhythmic structures of the capital, roman and italic letters and the related typographic conventions and rules, will be analyzed and dissected. Available software for font production for Mac OS, Windows and Linux, like (but not limited to) FontLab Studio, FontForge and DTL FontMaster, will be reviewed and first steps towards designing type will be made.
The lessons are divided into two modules; for the first module no specific entry level is required, for attending the second module, the first one has to be successfully completed.
The lecturer is Frank E. Blokland, founder of the Dutch Type Library, architect of the DTL font tools, and Senior Lecturer ‘Letters’ at the Royal Academy of Art, The Hague.
The expert classes will take place at the beautiful historical premises of the Museum Plantin-Moretus (http://www.plantin-moretus.be/).
More info can be found at: http://www.plantingenootschap.be/?page_id=67&lang=en
The Society of Typographic Aficionados (SOTA) presents its annual letterfest in the City of the Angels this summer, featuring more than 70 of the brightest names in type and design, including:
Akira Kobayashi, Doyald Young, Jill Bell, Teri Kahan, Andrew Byrom, Sean Adam, Richard Kegler, Kevin Larson, Jean Françous Porchez, Hank Richardson, Matthew Carter, John Downer, Gerald Bieler, Chaz Bojorquez, Ricardo Martins, Johanna Drucker, Kris Sowersby, Denise Gonzales Crisp, Shelley Gruendler, Miguel Sousa, Adam Twardoch, Satya Rajpurohit, Adrian Wilson, and many more.
Topics being covered at TypeCon2010 include an eye-popping look at antique lettering of the textile trade, the typography of Disneyland, a documentary on the life and work of Jim Rimmer, the current state of web fonts, an exploration of a graduate program in type design in the US, and much more.
Special events include the fifth annual Type & Design Education Forum and an international exhibition of type and design. Dozens of workshops, presentations, panel discussions, networking events, tours, and social gatherings will form a typographic adventure that will inspire you for years to come.
Register now and save!
Take advantage of early bird pricing by registering before June 30th.
Remember, SOTA members also receive a discount on their conference registration. Why not Join SOTA or renew your membership before registering and receive your member discount.
Early Registration (Through June 30th)
SOTA members: $250 professional / $145 student
Non-members: $295 professional / $165 student
Regular Registration (July 1st - August 1st)
SOTA members: $295 professional / $165 student
Non-members: $350 professional / $185 student
Late/Walk-Up Registration (After August 1st)
SOTA members: $350 professional / $175 student
Non-members: $410 professional / $195 student
Pre-Conference Workshops (Optional)
$50 per half-day session (plus materials / lab fees, if any)
$100 per full-day session (plus materials / lab fees, if any)
Type & Design Education Forum (Optional)
$100 for the full day session, including your choice of breakouts
Stay close to the action — book your room at the conference hotel and take advantage of discounted room rates for TypeCon attendees. TypeCon2010 Attendee Rate: $169/night single/double (plus taxes)
TypeCon2010 would like to thank the wonderful individuals and businesses that make TypeCon possible. Without their continued assistance, we would not be able to offer such an affordable, high-quality event. Please help us support our partners and sponsors by checking out their products and services. Presenting Partners—Otis College of Art and Design, Society for Calligraphy, Southern California. 72 Point Sponsors—Adobe Systems, Clients & Profits, The Font Bureau, Fontself, Monotype Imaging, MyFonts. 48 Point Sponsors—Ascender Corporation, Emigre, FontLab , Linotype, TypeTrust, Veer, YouWorkForThem. 24 Point Sponsors—Daidala, Fontdeck, Mark Simonson Studio , Munchfonts, P22, Parkinson Type Design, Typeco, Typostrophe, URW++. 12 Point Sponsor—Extensis. Media Partners—GD USA, Typophile, Typo Magazine. Design Partner—Corey Holms. Technology Partner—Campaign Monitor. Event Partners—Cina Associates, Type Directors Club.
Join me, Sara Soskolne (senior designer, H&FJ) for "Turning Letters Into Type," a whirlwind introduction to digital typeface design, taking place July 12–16 at New York's School of Visual Arts. Details and registration for this 5-day workshop — during which students will embark on a project of their own choosing, with lots of guidance and introductory schooling from me — are here. There are only a few spaces left, so click away... hope to see you there!
We are happy and proud to announce that we have received two awards in this years ED-Awards competition. Our multi-purpose typefamily Adelle was given Gold and Karmina Sans won Bronze in the category "Original Typeface". Veronika collected the nice but very heavy trophy at the awards ceremony in Rotterdam this past month. Many thanks to the jury and Ed-Awards!
see adelle: http://www.type-together.com/Adelle
see karmina sans: http://www.type-together.com/Karmina%20Sans
Kade is a display/semi display sans family of fonts based on vernacular lettering photographed over the last ten years in and around the harbours of Amsterdam and Rotterdam. Hence the name Kade that translates into English as ‘quay’, also the name of its designer.
Kade grew slowly from many different ideas and elements. The letters reflects the industrial method in which they are cut for the side of ships from large steel plates. Frequently subtleties of curves are compromised due to the cutting tools and the fact engineers are in control. Kade’s italics have an experimental character and were produced in an unorthodox manner by rotating 8 degrees, rather than slanting the roman characters, a method sometimes employed in shipyards.
Kade ‘constructed character’ is ideal for contemporary editorial works, architecture magazines, museums communication and posters.
The six distinct styles are published in OpenType format, featuring small caps and four sets of numbers (proportional old style, tabular old style, proportional lining and tabular lining), as well as matching currency symbols and a complete set of fractions.
Kade can be ordered at: http://www.re-type.com/
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