Monthly Archives: October 2012

Staff Picks, October 2012

October Staff Picks have been selected. Take a look through a few of the favorites below, or peruse the complete list. Now on to the picks.

Volker picks the Atomic Age Pack by Leslie Cabarga, published by Font Bureau

“50s fridge fonts”

Mayene picks Brownstone Thin by Alejandro Paul of Sudtipos

“a lightweight, friendly set of characters with dainty alternates.”

Mark picks Typonine Stencil by Nikola Djurek of Typonine

“For making elegant looking occupy signage”

New Fonts This Week

Here they are! This week’s fresh new faces. As always, subscribe to our newsletter and read this blog for the full stories. Now for all the latest from the following foundries:

Fontsmith

FS Me Pro

Alias

We’re pleased to offer Gareth Hague’s Alias Asperity and Alias Caustic as FontShop exclusives!

Asperity / Asperity Web / Asphalt / Asphalt Web / Aspic / Aspic Web

Caustic / Caustic Web

Canada Type

Grippo Volume

Filmotype

Filmotype Royal Family

Latinotype

Romeo Essential

VetteLetters

VLNL Spaghetti Bolognese

Neapolitan


Butterfly Kids Pro


Chelsea Market Family Pro


Codystar Pro


Emily’s Candy Pro


Fredericka The Greatest

Sideshow


Coffee Drinker

Tart Workshop


San Rafael OT

Buyer’s Guide: Favorites and Tagging

Saving your favorite fonts on FontShop is easy. On every product we license you can click on the star icon to add the font to your Favorites.

You can access your starred fonts by clicking on Favorites in the right hand corner of FontShop.

When you’re in your Favorites, you can also add tags to all the fonts you’ve gathered. These tags are only visible to you when you are logged into your account.

You can use tags to group script fonts, compare fonts for particular project, or even bundle them in specific genres.

You’ll need to have an account to store your favorite fonts, so sign up for account now. If you already have an account, make sure you’re logged in.

5 Reasons to Pin with FontShop

We usually use this space on Fridays to talk about new boards on Pinterest, but this week we decided to give you five reasons to come join us in the social visual space.

1. You need a coffee/snack break. Let’s face it, sometimes we go to social sites to escape from our responsibilities. Our Edible Type & Mugshot boards will keep you inspired while you cozy up with Too Much Coffee and Donuts. Or just need to make a trip to the water cooler? Well, Water You Waiting For?

2. You want to dive into a typeface. Explore FF Din, FF Mister K, Bello Pro and FF Chartwell with our In Your Face boards for each.

3. You dream of being a pirate, an astronaut or circus performer. If you’ve got a parrot and an eye patch, we’ve got X Marks the Spot and Swashbucklers boards for you. Rocket ships more your speed, Space Cadet? Try Spacing Out. If you’ve run off to join the Dusty Circus, check out That’s In Tents!

4. You’re looking to learn. Go Back to School with Typography 101 and a pinnable version of 100 Best Typefaces. Plus, stay up on the latest Type Trends and what’s New & Noteworthy.

5. You just need a hug. We’ve got you covered.

Why do you pin with FontShop? Tell us in the comments.

Type Trends: Hipster Design

Hipster design seeks to predate itself, reintroducing elements from simpler times and arranging them into marks and compositions that have a certain matter-of-factness about them. The application of hipster design to a brand favors the function of general design elements applied generally, rather than specific marks applied consistently. The information presented is pithy, often set at intersecting right angles about a central mark. To give some visual evidence right off – here’s an example of the kind of work I see inspiring this particular design movement.

This well-restored sign hangs on Howard Street in San Francisco. It’s clear. Hand-rendered in a strong all-caps sans serif alphabet (to borrow a sign painter’s term) with complementing commercial script, the piece has generous margins, and a well defined visual hierarchy. The proportions of its letterforms, and their spacing, isn’t perfect, but its imperfection is also one of its greatest assets. What I see in the larger hipster (for lack of a better term) design and branding movement is a call to appreciate the flexibility and even inconsistency of our graphic design past.

When in 1952 The Dahl-Beck Electric Company needed a sign for their new location, they didn’t approach a graphic design firm. They went to a sign shop. When they needed letterhead or business cards printed, they went to a printer. Did the marks match? No. Was that a problem? Good question. I think practitioners of hipster design would argue no. When a company’s design consistency is a lesser priority, it’s sometimes a sign that other things take higher priority, like showing up to the job site on time, performing reliable service, creating a great product, etc..  There was likely little discussion of “visual concept” with any of these pieces. The execution was the concept.

So in an attempt to appear established, perhaps winking at the irony created by the freshness of their look, small businesses today sign off on the work of graphic designers whose aim is to present them as having existed before design as we now know it. To point out someone who does it well, I turn to New York’s Best Made Company, a manufacturer and retailer of camping supplies best known for their handmade axes.

The typefaces used range from Christopher Rogers’s custom Indicator to Monaco, Rockwell and Didot, with cameos from stamped machinist letters and what appears to be custom inline router work. To those capable of perceiving it, this kind of ‘I don’t care’ attitude toward branding can be quite appealing. The idea that a brand is strong enough to carry diverse products devoid of consistent marking helps get us thinking differently about how brands are built.

That is more or less the story behind hipster branding as I see it. But of course no movement exists without leaving a trail of pieces created in the image of the popular look. Out here one sees work of a decidedly linear quality, lots of type reversed out of solid geometric shapes, physical process-related texture, an inordinate amount of generously letterspaced Futura BoldAlternate Gothic, Univers Compressed & Ultra Condensed, Depression-era constructed caps, faces linear in nature like ATF’s Hellenic Wide, a variety of script faces, and lettering – mostly digital, mostly mediocre, some decent.

If I could make a few recommendations for type I’d like to see used within the genre, check out these squares: Sweet Square, Stratum, the 60′s era Filmotype’s “G” Series, the Depression-era caps of Solano Gothic, Refrigerator (experimenting with its stylistic sets), and Amboy, and Commercial scripts like Dynascript, Filmotype scripts Kitten, La Salle & Lucky, and of course, Hipster Script.

The above ad is Sudtipos’s play on the theme, set in their own Hipster Script and Grover. I suppose I could mention here that Instagram fits perfectly into the discussion, using modern means to give physical characteristics to digital photography. And lastly, I leave without comment a few additional beautifully conceived pieces that inspire the genre, from Christian Annyas’s collection of rail line logos. The Type Trends series continues here next Thursday.

Bike Type

David’s Type Trends series has many of us (even those from a non-typographic background) in the San Francisco office of FontShop looking at type’s influence in our everyday lives and interest areas a little more acutely than usual. As a lover of bicycling, I geeked out at the recent addition of Latinotype‘s Ride My Bike to our catalog. So when I saw that PUBLIC Bikes had commissioned a bevy of international designers to interpret “public” for an exhibition at the nearby California College of the Arts, I hopped on my bike and headed over last night for the opening reception.

Above (L-R): PUBLIC Works Posters by Jason Munn, Paula Scher, and Sagmeister and Walsh

Cyclists, artists and design fans from around the Bay Area packed into the small gallery enjoying the range of posters varying from pure illustration to typographic treatment. The exhibition included a few type designers Erik Spiekermann, Milton Glaser, Henning Wagenbreth, amongst others, but the majority of the posters featured some element of lettering or type. It was also exciting to see the work of 2012 TYPO speakers, including Jason Munn (TYPO San Francisco) and Paula Scher (the upcoming TYPO London). 

I’m always passing interesting design and typography while riding my bike, but after visiting this exhibition, it’s fun to ponder how artists are interpreting the very phenomenon of cycling itself.

Above: Erik Spiekermann’s interpretation of “public.”


How does typography overlap with one of your other interests? Tell us below!

New Fonts This Week

Check it out! This week we have a nice variety of fresh new faces. Be sure to check out the latest deal on Civita Light OT from Hoftype, it’s FREE! As always, subscribe to our newsletter and read this blog for the full stories. Now for all the latest from the following foundries:

New Foundry

Vette Letters (VLNL)

VLNL Bint

VLNL Brak

VLNL Neue Sardines

Emtype

Ciutadella

Hoftype

Civita

Linotype

Heisei Std

Kozuka Mincho Pr6N Std

Monotype

Classic Grotesque Pro

Buyer’s Guide: Get Help

Finding the perfect typeface for your project doesn’t have to be hard. We’ve loaded FontShop with lots of tools to help you with your journey and we’ll go over those tools in upcoming Buyer’s Guide posts. But if you need help right away, here are a few tips.

Need to find a quick answer about the fonts we license? Just click the HELP link, located on the top right corner of FontShop.

Are you trying to find a the name of the typeface your client is asking you to use, but you have no idea what it is? Send an image to Research for assistance.

Do you need a formal quote or would you like to pay by invoice? Contact Sales.

Have a general question, but you don’t know where to send it. That’s easy! Send it to Info.

FontShop is always here to help.

Pinterested: New boards this week

Fontshopper, we’re showin’ you some fonts so you can just chill if you’re the type that needs their typography fill. We have one new board up this week and if ya got five (minutes), we got fives.

I Got 5 On It is a pinboard collection of various 5s from different font categories from Ayres Royal‘s swashy blackletters to HGB Lombardisch‘s deliciously inky glyphs to bold display faces like Parkinson Type Design‘s Sutro Shaded Initials.

Homies don’t play around, we down to gaze around, then ease up once we’ve had our fill of Pinterest with Fontshop.

Type Trends: Hand-cut

A surfacing trend I’m glad to see growing, and a subset of physical type, is the labored-over paper cut genre. Doing work in this vein appeals particularly to the able, young designer because of its cross-disciplinary nature. Designing harmonious typographic compositions to later cut into paper, depending on the scale and depth of the piece veers from the mostly two-dimensional world of traditional graphic design into the realm of three-dimensional set design and art direction. And what designer, after a string of single-color jobs doesn’t want to move on to the intricate, hands-on work of making, lighting, and photographing dioramas?

The effort shows. Here, Spanish design studio Versátil represents the kind of education offered at Antonio López Art School using graphic elements arranged to suggest a bursting forth of ideas. The script up top is Alejandro Paul’s Mr Stalwart.

Strictly speaking, the above sample isn’t type or typography (before anyone accuses me of muddying the waters here), It’s lettering. My point is still the same. When the beholder sees an accessible process applied to an accessible medium, here applying scissors to paper, and notes that it indeed took quite some doing, he is given pause—the familiarity of its elements being the key factor. That this autoinitiated piece from Miguel Dias doesn’t translate perfectly into English I find completely forgivable.

Lastly, an example of a more traditional paper cut. Michael Lomax’s work tells a Hans Christian Anderson tale with graphic illustrative elements and delicate Script and Fraktur lettering. This is no dabbling by the way, Michael’s papercut portfolio is immensely well developed.

Five Things You’ll Love About the FontShop Plugin

You know the free FontShop Plugin allows you to preview almost all of our 150k+ fonts right in your Adobe® Creative Suite® documents, but here’s five of its features you can use to maximize your experience.

  1. Search by font name, designer or foundry.
  2. Try up to 12 different fonts in a single document.
  3. Apply filters and effects to your type samples.
  4. Click the heart icon to easily find your favorites later and add your own tags to sort them further.
  5. Buy right from the plugin. Click the download button to access purchase options at FontShop.com once you’re ready to take your relationship further!

Latinotype

Just joining us here at FontShop is our latest foundry, Latinotype. Take a look with us through a few of their recent releases and favorite faces.

Patagon by the Latinotype Team

Kahlo by Luciano Vergara

Sanchez by Daniel Hernández

Andes and Andes Condensed by Daniel Hernández

Andes and Andes Condensed come in an astonishing ten weights each, Ultra Light to Black.

Browse Latinotype’s full catalogue for all the latest.

Buyer’s Guide: What is a EULA?

An End User License Agreement, EULA (pronounced ‘yoo-la’) for short, are the terms that you agree to when you license a font on FontShop. EULAs tell you what you can and can’t do with your software.

They can vary slightly from foundry to foundry and we’ve added shortcuts on each product page for your convenience.


Please keep in mind that a Basic License can always be extended to a Multi-User license. Webfonts are licensed based on the number of pageviews your site receives in a month. And if you find that the EULA can’t support your needs, then please contact us and we’ll find a solution for you.

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