Monthly Archives: July 2013

Tiina and Monopol

Let’s take a look today at Valentin Brustaux’s Tiina with Tomas Brousil’s Monopol.
Tiina is a sturdy, contemporary serif face, drawn from no specific tradition or family line. Its low contrast and generous fit serve to keep the face both approachable and firmly affixed to the page. As a block of text, Tiina holds together exceptionally well.
Tiina-and-Monopol-2 Tiina-and-Monopol-3
Monopol exists solely as an extra compressed, or skyline sans in a range of weights from very thin to as heavy as heavy goes. Its construction is that of the draftsman-inspired alphabets of the early to mid-twentieth century, with several well-considered exceptions in form and fit. Depending on final size, you may need to track Monopol open some. Together, Tiina and Monopol form a fine working relationship, each offering more than sufficient ground to allow its companion’s distinguishing characteristics take the role as the figure.

Tiina-and-Monopol-4 Tiina-and-Monopol-5
Great Pairs land here each Wednesday.

New Fonts This Week

Grota by Latinotype


FF Marselis Slab by FontFont
Webfonts Available

FF Marselis Slab

Continuing Promotions

Lavigne Text, Lavigne Display, Medusa and Winco by ReType *webfonts available — 30% off 1–31 August

DSTypeAll fonts 50% off until 1 August

Rolling Pen by Sudtipos30% off until 8 August

Four Seasons by Latinotype65% off until 15 August

Anafalbeto, Designal, Frankie Dos, and Peter Sellers by Type–Ø–Tones20% off until 30 September

Buyer’s Guide: FontFont’s App+ Brings New Choices!

Last week we introduced a new license called App+ and this changed how FontFonts appear and are licensed throughout the site. These options will appear after you’ve chosen a specific product from the list that search returns to you. FF GOOD will be our chosen font for today, so let’s go over the basic changes that you’ll see.


Select Format

When you’ve found the package that appeals to you just click on product’s name. You’ll see the available formats which typically include OpenType, Web, Office, and App+. Clicking on any of these links will take to you the product page. For this example we’ll choose OpenType for the FF Good Collection.



You will only have this option for FontFonts, all other foundries will have an “Add” button instead. Anytime you choose “Update” we will give you several options to add different formats to your cart.


Which format of FF Good Collection do you need?

Since we initially choose OpenType for FF Good, that option is preselected. Licensing a mix of OpenType, Office, and Web will take 10% off those products. You can even add an App+ license!

We hope you like the new options and if you have additional questions you can always email FontShop’s Support Team for help.

Find and Replace, GREP


Alright, this isn’t necessarily about using type—more like using text—but hang with me and you’ll find the information is still applicable if not ultimately very handy. Much of the initial work of typesetting is rearranging and stripping the junk out of your text, including removing that pesky second space after each period.

Find and Replace

The way most go about it is to replace two spaces with a single space, and repeat the action until the search reveals no matches. You’ve likely grown comfortable with Find and Replace by now, but if your text editor allows for finding and replacing with regular expressions, (InDesign does) you may be surprised by the added potential this offers you. Combined with InDesign’s additional ability to apply paragraph and character styles, you’ve got a powerful tool at your disposal.

Slightly more advanced

Grep, a popular term for searching, finding and replacing text that fits a given pattern, allows you to do the above example in a single step, among other, much more complicated and ostensibly more useful things. In InDesign, GREP sits beside the Text Find/Change dialog, looking inconspicuously similar. The below example shows how to find a period followed by one or more spaces, and replace that pattern (or expression) with a period and a single space.

Grep two spaces after a period

Above To find the period, precede it with a backslash (the period has its own special meaning in regular expressions; the backslash says, “nope, just looking for a plain old period,”). This is followed by one space, a second space and an asterisk, (meaning one space, followed by zero or more spaces). When this expression is found, we change it to a period followed by a single space. Similarly this method can be used to replace multiple paragraph breaks:


with a single paragraph break:


or any similar simple substitution.

Replace it with the thing I found

Sometimes when I’m finding and replacing, the thing I want to put in the Change to field is based on what I just found. Say I’ve got a list of names, Last comma First, e.g. Tanner, Jerry; that I want to change to First Last, Jerry Tanner. With Grep, just specify that everything preceding the comma is the (first pattern), everything after is the (second pattern), and then change it to (second thing) (first thing).

Picture 1

Above I use a simple expression: One pattern of zero or more characters, followed by a comma, space, and a second pattern of zero or more characters. The period means any character, with certain exceptions. The two patterns are grouped in parentheses, making it possible to recall them later in the Change to field. Dollar sign 1 is the first pattern in the expression, which we put last. The comma space we ignore. And the last pattern we put first with dollar sign 2. Since the period character doesn’t include paragraph breaks, all we have left to do is hit Change All. Before and after below.


With this level of knowledge, you’re ready to hack into all kinds of text files, turn hyperlinks into labeled URLs, you name it. Next week I’ll go into a bit more styling, including how to apply styles with this and the paragraph style dialog.

In the meantime, how does one learn more about Grep? Adobe has a good resource page on Grep specific to InDesign. There’s also a great general beginners guide  written by Jan Goyvaerts I recommend. Some potentially unfamiliar terminology such as escape and literal will pop up here and there, so keep a programming reference handy, or Wikipedia. Study up on what Grep can do, and you’ll find there’s almost no bottom to the complexity, but—and I’m warning you—don’t get caught up in it. A working understanding of the basics will immensely improve your ability to find and change text. From there, it’s a long descent into the weirdness of cold hard logic and diminishing marginal returns.

Thanks for reading. Using Type continues here Thursday. Thanks to Nicole Dotin’s Elena and Thomas Gabriel’s Premiéra for the illustrations.

Satyr and Lisboa Sans

Let’s examine the pairing of Sindre Bremnes’s Satyr and Ricardo Santos’s Lisboa Sans.

Satyr sets somewhat wide and carries itself with an air of confidence. Where its inky and mottled forms add age, its fit and sense of proportion gives it a fresh young voice. The characters of Lisboa Sans sit much more upright, generating interest at a large scale by the interesting use of counterform and snug fit. Additional exotic elements include its terminal angles, and an overall dynamism of character width. Together the two support each other in a relationship of equals, each full of small quirks, each doing its own job.
Satyr-and-Lisboa-2 Satyr-and-Lisboa-3 Satyr-and-Lisboa-4
Detail of Satyr seting body copy.
Great Pairs continues here Wednesday.

Update: Nina Stössinger left a great comment on how FF Legato makes a very cohesive companion to Satyr. Please keep the insights coming.

Introducing FontFont’s App+

FontFont wants to ensure you have the perfect typeface for your project. To make it easy as pie to get what you need, we’re launching a new App+ license, streamlined packages, and a multi-format discount. Now it’s even simpler to bring your brand to life with a universal typographic voice.


Easy licensing for mobile apps, editable documents and hardware — introducing App+

Want to use FF DIN in a mobile app, embed FF Scala in a PowerPoint Presentation or enhance a car interface with FF Meta? Now you can with FontFont’s brand new App+ license. Comprehensive, affordable, and available online, App+ makes it really simple to license FontFonts for apps, games, editable PDFs and hardware. What’s more, with App+ you don’t need to buy a license for every app or device. One license covers them all.

Simple and streamlined

We’ve improved and streamlined our products. Every font package now has the same weights across each format. So you can rest assured that if you purchase the same packages in different formats, you’ll have the same fonts.

Bundle and save

Save 10% when you purchase any combination of OpenType, Office, or Web FontFont formats. Make sure you have every format you need for present and future projects, and save money too!

New Fonts This Week

Supra by Wiescher
Webfonts Available


Continuing Promotions

Quant Text by HoftypeLight weight free

James Todd DesignAll fonts 35% off until 26 July (enter promo code: JULY35)

DSTypeAll fonts 50% off until 1 August

Rolling Pen by Sudtipos30% off until 8 August

Four Seasons by Latinotype65% off until 15 August

Buyer’s Guide: Font Bureau EULA

FBFor over twenty years, Font Bureau has been providing some of the best typeface designs in the industry. Their font collection continues to grow and with popular faces like Whitman, Benton Sans, and Heron the foundry has been one of our customer’s favorites! Here are some EULA highlights that you may want to keep in mind when licensing a font from Font Bureau.

Basic EULA Rights

  • Desktop use supports up to 1 CPU.
  • You may create a non-editable PDF for output printing to a service bureau for printer.


  • You cannot share the fonts with users that do not have a license for the same fonts.
  • You cannot embed the font into documents that are distributed to third parties without additional licensing.
  • You cannot embed the font into a Website or Application.
  • You cannot embed the font into Flash animations.

See Font Bureau EULA

If you have additional questions you can always email FontShop’s Support Team for help.

EULA highlights will be posted every other Monday. Next up is Emigre.

Pinterested: X Marks The Spot


If you liked our Cartographic Guide in your inbox on Wednesday, we have some typographic treasures mapped out for you in our X Marks The Spot pinboard.

pinterestNavigate to fonts like Treasure Trove OT from Comicraft and Incognito Pro from Fountain that includes cartographic elements such as compass dingbats and glyphs of whole pieces of land.

Whitespace and invisible characters

One thing I’ve been meaning to create as part of Using Type is a heightened visibility for the invisible, non-printing, and otherwise under-appreciated formatting characters that happen to not make any marks on the page, but do happen to contribute quite a lot to our reading experience.


Whitespace characters

Let’s start with space. A most frequently employed character, space has the largest key on the keyboard. Its width is set by the type designer to optimally divide words on a page. The dead giveaway in a novice-designed typeface: the space is almost always much too wide.

The em space is as wide as the type size is high (an em space in 12 pt Bodoni is 12 pt wide), quite a generous gap should you require it. Letterpress printers traditionally begin each line with an em space, called an em quad. The en space is half an em space in width, and from the em you divide the rest of the fractional space units such as third space, quarter space, etc. The hair space is the narrowest of the spaces, a size down from the thin space, and the two are commonly used hemming in either end of an em dash, or between the initials in a name such as E. B. White’s. Okay, technically there are spaces and similar characters narrower than the hair space, because they’re zero-width non-spacing spaces—very useful in languages that run all together without explicit word spaces (Have I ever even heard of one of these? I know I’ve heard its spoken english equivalent.) but until today these have remained pretty far off my radar.

For setting numbers the figure space can come in handy, its width the same as the zero character. Similarly the punctuation space is set to the width of the period or comma. Anyone know what this one’s traditionally used for?

The non-breaking space, or no-break space does more than push apart words, it also binds the words (or neighboring word-like elements) on either side of it together, so that if one word breaks to the next line, they both do. These are helpful when things like proper nouns or phone numbers flow in a column of text, and you don’t want the entity to be line broken. I mentioned this last week, but you may not have caught it. Applying a no break character style is another way of accomplishing this behavior. Just highlight some text, from the top right menu of the Character palette, select No Break, and then keeping that same text selected, create a new character style. Apply this style to another bit of copy, and now any spaces or hyphens in it will act as non-breaking spaces, or non-breaking hyphens.


Whitespace-1Paragraph break (hard return) is the most familiar of these. Paragraphs in InDesign are delineated by the single press of the return key. (There are no hard returns inside paragraphs.) Unless you’re being lazy on purpose, don’t insert multiple hard returns in a document as a means of adjusting vertical spacing. Just adjust the spacing.

The forced line break (soft return) is a good solution for arbitrarily kicking the remainder of a line down one without breaking the structure of the paragraph. If you have a paragraph style applied, soft returns, typed Shift + Return on the Mac or Shift + Enter on Windows, maintain the style over the multiple broken lines.

Column break also ends a paragraph, sending the text below it to the top of the next column. On the Mac, access this by striking Enter on the number keypad. Similarly, text frame break, page break, and some I wasn’t familiar with exist in InDesign, odd page break, and even page break send the text below it to the top of the next frame or page or whatever as is given in the name of each.

Format & Positioning

Center-aligned tabTabs are fantastic for organizing tabular information. (They’re not very helpful at all on the web, though the web has other means of handling similar requirements.) I’ve written a short piece on the proper use of tabs that I’ll refer you to since they’re pretty versatile.

Whitespace-2The indent to here character hardly gets the attention it deserves. See it above, just preceding the word built; at the top of the indent. I use it all the time in conjunction with the tab character to simplify formatting of short documents down to a few keystrokes. Try it out yourself. Just click in the middle of a text column in InDesign and type Command + Backslash. (Mac) or Control + Backslash (Windows). The technique can be used for ex-dented text, hanging punctuation, or plain old columnar formatting. For longer texts working across multiple paragraphs, I recommend achieving the same effect with first-line indent and paragraph indent paragraph styles, since they don’t require the insertion of special characters.
When used inside a paragraph whose alignment settings are specify to Justify all lines, flush space is a gaseous space that expands to take the shape of its container. If you only use one flush space on a line that contains several other normal spaces, the flush space will collapse the normal spaces and word spacing down to size, and occupy all the rest of the available space.

End nested style here is another one I didn’t know about until today’s looking around. It doesn’t force InDesign to stop using a nested style just by virtue of inserting it somewhere in the middle of a paragraph style that makes use of nested styles. It rather serves as a custom marker character that can be referenced by InDesign’s nested styles settings, in the same way you can reference a soft return (forced line break) or tab, or whatever. The difference is that the end nested style here character can fit anywhere, even in the middle of a word without disrupting the flow of things. That’s it. Thanks for reading, and thanks to Dan Reynolds’s Malabar for the illustrations. Using Type is a regular Thursday series.

End of story

Swift and Tondo

Today we pair Gerard Unger’s Swift with Veronika Burian’s Tondo.
A news face, Swift’s rigid forms set economically with a tone that’s neither too harsh nor too supple. Tondo is a clear, simply structured grotesk with modestly squared curves and rounded terminals. Among its weights is a slightly condensed Signage variant. Together, the two contribute to a texture that can oscillate between taut and loose, sparkling with detail, and flat, plain and clean.


Should you need it, Swift 2.0 from Paratype has full Cyrillic support. And Tondo Corporate supports both Cyrillic and Greek.
Swift-and-Tondo-2 Swift-and-Tondo-3Swift-and-Tondo-5

Great Pairs land here each Wednesday.

New Fonts This Week

Effra Corporate by Dalton Maag


Quant Text by Hoftype


Colleen Doran by Comicraft


Ghost Town by Comicraft


Four Seasons by Latinotype


Savour by profonts
Webfonts Available


Giureska by URW
Webfonts Available


Le Rock by URW
Webfonts Available


Smooth Buggaloo by URW
Webfonts Available


Styla by URW
Webfonts Available


Urban by URW
Webfonts Available


Continuing Promotions

Novel Sans Rounded Web by Atlas Font Foundry$99 intro price until 23 July

Rolling Pen by Sudtipos30% off until 8 August

Buyer’s Guide: Self-Hosted vs. Hosted Web Fonts

Webfonts are here to stay, but there seems to be some confusion on how webfonts are licensed and implemented on a site. You have two basic options, Hosted or Self-Hosted. Below are some basic things to know.


Self-Hosted webfonts from FontShop

  • You are charged based on the number of pageviews per month your site has as a one-time fee.
  • You are given the EOT/WOFF files to self-host on your site.
  • You keep track of the pageviews per month your site receives.
  • You can extend your license to support more pageviews by contacting FontShop.

Hosted webfonts from service providers

  • You are charged based on the number of pageviews per month your site has as a subscription based model which can be annual/monthly depending on the provider.
  • You are given a line of code to include within your site that serves the fonts to your site.
  • The service provider keeps track of the pageviews per month your site receives.
  • If you go over your pageview limit, default fonts may be served until you increase your subscription terms.

Self-Hosted and Hosted

*FF Chartwell Web is currently not supported.

Pinterested: Water You Waiting For?

pinterest-waterIt’s summertime, so remember to stay hydrated! Here at FontShop in the middle of camping season, we went fishing in our ocean of fonts for some water-themed faces from Linotype’s WaterFlag Regular and F2F Whale Tree Std Regular to Electric Typographer’s Finfont — you can find these gems in our Water You Waiting For board.

Quench your thirst for typography with this Pinterest board and follow us for new boards.

Hyphen, En Dash, Em Dash, Minus

Hyphen-1I’m moving along to more lookalike punctuation today, since I’m eager to see what new things I can learn writing on these. On a high level note, let me say that what I’m sharing today is language- and culture-specific and therefore not universally applicable, and subject to change. I should also mention that this is a fuzzy area that tends to test the boundaries and overlaps between typography, language, and grammar.


Hyphen-2You probably know the most common uses of hyphens, the stubby, multipurpose half-dashes. They push apart and tie together suffixes, prefixes, words, and phrases. The often-derided mark, hated for its careless and prevalent misuse, has quite a few proper uses, hyphenation for one. Throughout this piece I’ve attempted to use hyphens in just about every way hyphens are commonly used. Maybe not E-V-E-R-Y S-I-N-G-L-E way, since some are kind of annoying. All the characters described below could potentially, and are frequently represented by hyphens.

When instructed to do so, layout software may insert hyphens, according to a hyphenation dictionary, when a word’s length suggests that it break from one line to the next. Non-breaking hyphens, useful in things like phone numbers or hyphenated proper nouns, ensure that these elements won’t be line-broken by hyphenation algorithms should they too closely approach the edge of the text column. Be particularly wary of hyphenation when it can critically alter the meaning of some unique identifier, such as a URL, e-mail address, etc.. There are other ways of keeping this hyphenation-prone info unbroken, such as by applying a ‘no break’ character style (or on the web, specifying white-space: nowrap; to the element’s style).

Hyphen-3Discretionary hyphens serve as a kind of override to InDesign’s hyphenation system. The easiest way to see how they work is to find a word that’s been hyphenated and insert a discretionary hyphen nearer the beginning of the word. The cursor above (fourth line, near the end) inserts a discretionary hyphen giving the below result. You can do this in InDesign via Type > Insert Special Character > Hyphens and Dashes > Discretionary Hyphen, or keyboard shortcut: Command + Shift + hyphen (Mac), or Ctrl+Shift+hyphen (Windows). These are ‘soft’ hyphens by the way, meaning that unless the word is sufficiently close to the edge, you won’t see any difference in behavior. (With hidden characters visible, you’ll be able to see it.)

Hyphen-4And lastly, you can use two hyphens in place of an em dash—if, say, it’s set in a monospaced font.

En dash

Hyphen-10The en dash is longer and generally not as heavy a stroke as a hyphen and suggests a range between two specified points. We’re open 7–11, Mon–Fri, etc. How you typeset your en dashes, whether flush or with a hair space between its neighbors, is up to you or the applicable style guide you may be required to follow for a given job.

Em dash

Hyphen-9“Let’s just forget about the em dash and leave it to Victorian literature,” or something like that is what I recall being the thrust of Robert Bringhurst’s feelings on the subject. The em dash is the longest of the dashes, used primarily to preserve in time one thought—while momentarily breaking off into a different direction—before returning. Or not. I think Bringhurst’s main quarrel with the mark is that it’s too disruptive, because it’s too long. Some suggest that we just replace it with a suspended en dash – a fine alternative. Another just as good alternative? Provided your em dash is a simple rectangle, you can scale it to whatever length necessary, set up a character style, and apply it to all em dashes in your document.

And a general note to people who use a hyphen with no spaces around it to signify an em dash—you are headed for a misunderstanding. The general layperson workaround is to type two hyphens in succession. I’ve also seen this handwritten far too many times.


Hyphen-8For typesetting math, use the minus sign as an operator, or for specifying negative numbers. Often, typographers will use an en dash if there’s no minus sign in the character set of a given font, or if they’re too lazy to go looking for it, but not lazy enough to use—well, you know.

That’s it. Thanks to Tobias Frere-Jones’s Griffith Gothic for setting today’s examples. Using Type continues Thursday.


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