Monthly Archives: June 2014

Buyer’s Guide: Promotional Discounts with No Promo Code

If you subscribe to the FontShop newsletter, you already know that each edition highlights promotional discounts offered by our foundries to bring you the best deal on a new font or help you complete your collection.

Here’s part of the promotions section from our latest newsletter:

Image

 

Did you know that you do not need a promo code to receive your discount? The price listed on the website is in fact the promo price. To make things even easier for our customers when it comes time to make a purchase, discounted products at FontShop now display the regular price as well as the discounted price.

Check out HWT Artz as it appears on its family page:

Image

Now, not only will you know for certain that the font you select is the advertised discounted font, but you’ll also be sure you’re getting a great deal!

 

Want to stay up-to-date on all the promotional specials happening at FontShop? Make sure to sign up for our bi-weekly newsletter where we regale our subscribers with new and free fonts, typographic tips and trends, and important FontShop developments.

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

Pinterested: Art Nouveau

Screen Shot 2014-06-26 at 11.32.33 AM

 

This week we’ve created a new Pinterest board based off of a Fontlist curated by Yves Peters. Art Nouveau – also known as Jugendstil – is an international movement and style of art, architecture and applied art – especially the decorative arts – that peaked in popularity at the turn of the 20th century (1890–1905). We welcome you to be inspired by these artsy fonts while embracing its characteristic curves.

Differentiation and Exclusivity

Just a quick point I’d like to raise, since today’s USA vs Germany match has completely thrown off my schedule.

Ivory+Coast+2014+World+Cup+Home+Kit-a

When a potential investor approaches a business, one of the first concerns addressed is, “What’s proprietary about this business? What’s to stop a competing company from observing and then producing a product or service that’s just as good but at a lower cost?”

In graphic design, creating an image that’s easily authenticated and yet only with great difficulty successfully imitated follows the general principle of contrast. When something is very much unlike its surroundings, it becomes a definitive point of reference. (Its contrast is high.) When its surroundings respond by becoming similar in appearance, though the initial point of reference may not have changed its appearance, its contrast is lowered. Thus the perceived need for constant differentiation, endless updates and rebrands. And to some extent here, perception is reality, though I think you can feel my reluctance to such an approach, when the emphasis is on changing the appearance, rather than the substance. I’ve long seen great typography as one of the ways of solving this problem. And exclusively-licensed type as a particularly effective way of asserting ownership of one’s image.

Photo courtesy of Puma

Here’s one example: Soccer jerseys (my sincere apologies to the rest of the world who recognizes the sport as football) are commonly counterfeited and sold as authentic, misrepresenting their origin. Counterfeiters are foiled by the original manufacturers who commission new, distinctive typefaces and then exclusively license them from their designers. It’s for this reason that with each new wave of uniforms, something about the type catches your eye. Here’s one of Eduardo Manso’s custom typefaces done for Puma, above, on the Ivory Coast World Cup  jersey, and below on Italy’s. Note the curvature of the diagonal strokes, aiding legibility and also creating an easily-recognized distinguishing characteristic.

watermarked_thumbnail-2If you’re wondering how to go about licensing a typeface exclusively, just give us a call. That’s it. Using Type continues here Thursday. Thanks to Tobias Frere-Jones’s Armada for setting the title.

Skolar and HWT Artz

Today we look at David Brezina’s Skolar paired with Erik Spiekermann’s HWT Artz, the latter I might add is on sale now through June 30th.

Skolar-and-HWT-Artz-1 Skolar-and-HWT-Artz-2

Skolar, originally designed for academic publishing, creates an appealing, vigorous texture on the page. A close look at the forms themselves reveals the reliance upon the manual models that inform its appearance. The extensively gifted family, linguistically speaking, supports Greek and Cyrillic, as well as Gujarati and Devanagari, (you’ll need to contact the foundry directly for those). Typographically speaking, the glyph palette leaves little room for want, including small caps, math symbols, and all the most common super- and subscripts (scientific superiors and inferiors) and many you may wonder whose standards require. In sum, it’s a family with range.

When I first came across Erik Spiekermann’s HWT Artz, I didn’t know the backstory, and assuming the label meant that what I was seeing was a digital revival from the Hamilton Wood Type & Printing Museum’s extensive holdings, I was surprised that they had inventoried anything from Germany at all. I wrote an e-mail to Erik. Then I found out the real story. HWT Artz, like HWT Van Lanen is one of a handful of original designs produced at the Hamilton Museum into working wood type having existed first as digital type. The other example that comes to mind is Nick Sherman’s Brylski. (All three of these carry the names of Hamilton Museum workers and founders.) From its conception, HWT Artz accepted as a design constraint that the forms require as little hand finishing as possible, meaning that all sharp angles were to be eliminated in order to allow the width of the pantographic router bit (the means of production) to traverse the tight interior and exterior spaces it left behind.

On its own, though only a single weight and with minimal alternates, HWT Artz makes a strong statement. With Skolar, the two lend each other support, though there’s no question who maintains the dominant role.

Skolar-and-HWT-Artz-3 Skolar-and-HWT-Artz-4

Great Pairs continues here Wednesday.

New Fonts This Week

New Fonts

Freight Macro by GarageFonts

2014 Week 25 000  Clasica Slab by Latinotype 2014 Week 25 0002

Normandie by FONTYOU

50% off till August 8

2014 Week 25 0003


Loads of summer discounts from Abdo Fonts and FONTYOU, and other continuing promotions

Hamilton Wood Type

HWT Artz20% off until 30 June

Abdo Fonts

Abdo Free, Abdo Line, Abdo Title, Abdo Screen, Abdo Logo, & Abdo Master15% off until 2 July

Abdo Egypt, Abdo Joody, & Abdo Misr25% off until 2 July

Abdo Rajab & Abdo Salem35% off until 2 July

FaceType

Pinto50% off until 2 July

FONTYOU

Sperling FY, Suzee FY, Wes FY40% off until 5 July

Gauthier FY & Zitrone FY50% off until 5 July

Brixton FY, Saya FY70% off until 5 July

Archille FY75% off until 5 July

Booster FY80% off until 5 July

Cocijotype

Calavera Family, Chicha, Quincha, & Zipolite Rounded Family40% off until 15 July

More FaceType

Adria Slab and Adria Slab Web90% off until 15 July

Sudtipos

Abelina Pro and Abelina Redux OT30% off until 20 July

Latinotype

Clasica Slab75% off until 23 July

More FONTYOU

Gauthier Next FY & Gauthier Display FY40% off until 24 July

Normandie FY, Marianina FY Extended / Wide / XWide50% off until 8 Aug

Bold Monday

Brando30% off until 15 Aug


Want detailed showing of new fonts straight to your inbox? Make sure you’re receiving them in your inbox. They may be getting lost in the promotions section. If you use Gmail then you can drag and drop the FontShop Newsletter from your Promotions Tab to your Primary Tab.

Buyer’s Guide: Process Type Foundry EULA

PRC

Process Type Foundry specializes in the design of contemporary, original typefaces. Based in Golden Valley, Minnesota, Eric Olsen and Nicole Dotin’s create custom fonts for clients ranging from Chevrolet to Walker Art Center. In addition to their custom work, they have a released a several publicly available fonts. Check out Klavika, Elena, and Capucine on FontShop.

Basic EULA Rights

  • Desktop use supports up 1 CPU.
  • You can embed the font into a non-editable digital document as long as the font software is subsetted and the document text is set to view and print only.

Restrictions

  • You cannot share the font with users that do not have a license for the same font.
  • You cannot embed the font software into a Website or Application.

See Process Type Foundry

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 Three Island Press.

FontShop Friday Five: Using Type & FontFonts

fridayfive_vlnl duct_dingbats2

We know you’re busy and the Internet is a crowded place, so we’ll try to give you a little reminder on Fridays of what’s going on out there. Below please find five recent FontShop-related threads that you may have missed.

 

FontFonts Are Here!

A new batch of FontFonts have arrived! FF Franziska, new additions to FF Max (now including a Condensed width and support for Cyrillic), FF Mister K (with a new variant, Splendid) and new FF UI Icons are all now available. A heaping bunch of continuing promotions from FONTYOU, Cocijotype, Laura Worthington, Abdo Fonts and more now at FontShop.

Buyer’s Guide: Education

Need a bit of a refresher? Visit FontShop’s Education page and download our PDFs created for students and designers.

Using Type: Substrates

David Sudweeks continues his Using Type series which looks at the typographer’s process at the beginning of a project. He elaborates on the type of paper and other substrates to consider during this process.

25, Still Alive!

All of us here at FontShop want to thank AIGA SF and San Francisco Design Week for allowing us to take part in the super fun Studio Tours and celebrate our 25th birthday this past week. It was a blast seeing old friends and making a bunch of new ones.

Newsletter

We’ve delivered our most recent newsletter this week which includes all of the new FontFont releases and a new design HWT Artz by Erik Spiekermann and published by Hamilton Wood Type. Make sure you’re receiving them in your inbox. They maybe getting lost in the promotions section. If you use Gmail then you can drag and drop the FontShop Newsletter from your Promotions Tab to your Primary Tab.

FontShop Friday Five fonts: VLNL Duct by VetteLetters & FF Dingbats 2.0 by FontFont

Processes

Picking up from last week’s discussion on substrates, today we talk about processes. Broadly speaking, we’re talking about putting images onto surfaces. Traditionally speaking, (in the context of graphic design studio work) it’s putting ink on paper.

Using-Type---processes

Processes range widely, almost all (the old ones anyway) bearing their own typographic or letter-making traditions. Here’s a quick and incomplete run-down:

  • Offset, or lithographic printing, common commercial standard, seen in books made after 1970 or so, also nearly all maps
  • Digital, which generally means commercial inkjet printing
  • Letterpress, (relief printing) the first commercial printing process; it largely died out in the US in the 1980s and has since seen a resurgence of interest, creating the ’boutique’ printing sector.
  • Engraving, now most commonly seen on paper currency, the highest standard for calling cards / other stationery
  • Screen printing, T-shirts and (these days) only higher-end posters
  • Laser printing, toner (finely ground plastic) melted onto paper, likely your client’s process for day-to-day printing

Some uncommon results are possible with ordinary processes by changing the ink or rasterization method. Fluorescent, metallic, reflective, or glow in the dark inks are examples. Also, spot glosses are now a relatively simple thing to order. If you’re printing on plastic, a UV ink process requires a slightly different setup. There are also a number of special effect processes, including embossing, debossing, die cutting, laser etching / cutting, lenticular printing, holography, and special coatings. Short of seeing these in person, a perusal of one of Sappi’s (a paper company’s) exposition of special effect printing, via PDF is helpful to get an idea of what each is.

Within screen media, there’s also a dimension parallel to special effects printing that makes specific use of the physical properties of pixels, screen polarization, haptic feedback, and other infant technologies. Just as in print, there are simulated 3d effects on screen as well, done a number of ways, most of which requiring special glasses and sensors. Augmented reality interfaces would fit in here somewhere.

Three-dimensional processes

Again, there are innumerable industrial and artisanal processes that can result in letters on a surface, but just to name a few common ones: routing, sandblasting, minting, reproducible sculpture for molding and casting, and of course, 3d printing, and paper folding.

One-off and limited edition processes

Depending on the scale of the project, you may consider a single- or limited-run solution such as sign painting, neon, calligraphy, stone cutting, metal engraving, smithing (for cattle brands), and the mostly noncommercial printmaking processes, monoprint, intaglio, and Ukiyo-e.

Now, why make such a list? It’s important to consider all the possibilities of design from the outset of a project. I hope that by going through some of these it helps to expose new possibilities that just might be a good answer to a the need a project addresses. So for example, why design a paper label for a glass bottle, when the bottle itself can bear all the information just as successfully? Next week, we’ll get into the steps just after the brief’s second half gets firm.

Thanks for reading. Using Type continues here Thursday. Thanks to Nikola Djurek’s Nocturno Display for setting the title.

New FontFonts This Week

New Fonts

These new FontFonts just came in: Jakob Runge’s completely new FF Franziska, plus new additions to FF Max (now including a Condensed width and support for Cyrillic) and FF Mister K (with a new variant, Splendid).

FF Franziska by FontFont

ff franziska_fontfont

FF Max, now supporting Cyrillic and with new Condensed width by FontFont

ff max_fontfont

FF Mister K Splendid by FontFont

ff mister k_fontfont

More additions: FF UI Icons

FF Dingbats 2.0 UI
Ui_Icons_Dingbats_Black_Landscape

FF Mister K Dingbats UI
Ui_Icons_Mister_K_Dingbats_Black_Landscape

FF Netto Icons UI
Ui_Icons_Netto_Black_Landscape

FF Transit Pict UI
Ui_Icons_Transit_Black_Landscape

FF Comic Jens UI
Ui_Icons_Comic_Jens_Black_Landscape


Continuing Promotions

Newslab Family by Latinotype – 75% off until 19 Jun

Adorn single weights by Laura Worthtington – 50% off until 19 Jun

Sherlock in OT and Web by Wiescher – 50% off until 19 Jun

Abdo Free by Abdo Fonts – 15% off until 2 July

Abdo Line by Abdo Fonts – 15% off until 2 July

Abdo Title by Abdo Fonts – 15% off until 2 July

Abdo Screen by Abdo Fonts – 15% off until 2 July

Abdo Logo by Abdo Fonts – 15% off until 2 July

Abdo Master by Abdo Fonts – 15% off until 2 July

Abdo Egypt by Abdo Fonts – 25% off until 2 July

Abdo Joody by Abdo Fonts – 25% off until 2 July

Abdo Misr by Abdo Fonts – 25% off until 2 July

Abdo Rajab by Abdo Fonts – 35% off until 2 July

Abdo Salem by Abdo Fonts – 35% off until 2 July

Pinto by FaceType – 50% off until 2 July

Archille FY by FONTYOU – 75% off  until 5 July

Booster FY by FONTYOU – 80% off  until 5 July

Brixton FY by FONTYOU – 70% off  until 5 July

Gauthier FY by FONTYOU – 50% off  until 5 July

Saya FY by FONTYOU – 70% off  until 5 July

Sperling FY by FONTYOU – 40% off  until 5 July

Suzee FY by FONTYOU – 40% off  until 5 July

Wes FY by FONTYOU – 40% off  until 5 July

Zitrone FY by FONTYOU – 50% off  until 5 July

Calavera Family by Cocijotype – 40% off until 15 July

Chicha by Cocijotype – 40% off until 15 July

Quincha by Cocijotype – 40% off until 15 July

Zipolite Rounded Family by Cocijotype – 40% off until 15 July

Adria Slab and Adria Slab Web by Facetype – 90% off until 15 July

Abelina Pro and Abelina Redux OT by Sudtipos – 30% off until 20 July

Gauthier Next FY by FONTYOU – 50% off until 24 July

Gauthier Display FY by FONTYOU – 40% off until 24 July

Brando by Bold Monday – 30% off until 15 Aug


Want detailed showing of new fonts straight to your inbox? Make sure you’re receiving them in your inbox. They may be getting lost in the promotions section. If you use Gmail then you can drag and drop the FontShop Newsletter from your Promotions Tab to your Primary Tab.

New Fonts This Week

New Fonts

Calavera by Cocijotype

calavera_cocijotype

Chicha by Cocijotype

chicha_cocijotype

Quincha by Cocijotype

quincha_cocijotype

Zipolite Rounded by Cocijotype

zipolite rounded_cocijotype

Adria Slab by Facetype

adria slab_facetype

Gauthier Display FY by FONTYOU

gauthier_display_fy_fontyou

Oscine by Dalton Maag

oscine_dalton maag

HWT Artz by Hamilton Wood Type

hwt artz_hamilton wood type

Abelina by Sudtipos

abelina_sudtipos


Continuing Promotions

Newslab Family by Latinotype – 75% off until 19 Jun

Adorn single weights by Laura Worthtington – 50% off until 19 Jun

Sherlock in OT and Web by Wiescher – 50% off until 19 Jun

Abdo Free by Abdo Fonts – 15% off until 2 July

Abdo Line by Abdo Fonts – 15% off until 2 July

Abdo Title by Abdo Fonts – 15% off until 2 July

Abdo Screen by Abdo Fonts – 15% off until 2 July

Abdo Logo by Abdo Fonts – 15% off until 2 July

Abdo Master by Abdo Fonts – 15% off until 2 July

Abdo Egypt by Abdo Fonts – 25% off until 2 July

Abdo Joody by Abdo Fonts – 25% off until 2 July

Abdo Misr by Abdo Fonts – 25% off until 2 July

Abdo Rajab by Abdo Fonts – 35% off until 2 July

Abdo Salem by Abdo Fonts – 35% off until 2 July

Pinto by FaceType – 50% off until 2 July

Archille FY by FONTYOU – 75% off  until 5 July

Booster FY by FONTYOU – 80% off  until 5 July

Brixton FY by FONTYOU – 70% off  until 5 July

Gauthier FY by FONTYOU – 50% off  until 5 July

Saya FY by FONTYOU – 70% off  until 5 July

Sperling FY by FONTYOU – 40% off  until 5 July

Suzee FY by FONTYOU – 40% off  until 5 July

Wes FY by FONTYOU – 40% off  until 5 July

Zitrone FY by FONTYOU – 50% off  until 5 July

Calavera Family by Cocijotype – 40% off until 15 July

Chicha by Cocijotype – 40% off until 15 July

Quincha by Cocijotype – 40% off until 15 July

Zipolite Rounded Family by Cocijotype – 40% off until 15 July

Adria Slab and Adria Slab Web by Facetype – 90% off until 15 July

Abelina Pro and Abelina Redux OT by Sudtipos – 30% off until 20 July

Gauthier Next FY by FONTYOU – 50% off until 24 July

Gauthier Display FY by FONTYOU – 40% off until 24 July

Brando by Bold Monday – 30% off until 15 Aug


Want detailed showing of new fonts straight to your inbox? Make sure you’re receiving them in your inbox. They maybe getting lost in the promotions section. If you use Gmail then you can drag and drop the FontShop Newsletter from your Promotions Tab to your Primary Tab.

Buyer’s Guide: Education Page

Need to brush up on your typography?

education-graphic

Visit FontShop’s Education page and download our PDFs created for students and designers. Even if you just need to brush up on terms or need tips, the Education page is a great resource to bookmark. It’s perfect to share within a classroom or studio.

Looking for more typographic knowledge? Check out Using Type where our Type Director, David Sudweeks, goes over best practices.

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

Substrates

This is a continuation of the previous look at the typographer’s process at the beginning of a project, and we’ll end up talking about paper and other substrates.

Picture 1

A quick note on the creative brief before we proceed

Not only should the creative brief be clear about which objectives the project attempts to satisfy, it should articulate how it intends to do this as explicitly as possible. This second half of the brief is commonly overlooked or postponed in order to keep the process flexible. Make it explicit. Don’t let it just get rolled into the client approval process. My suggestion is to keep the brief updated and referred to regularly by both you and the client as the job progresses. That way, it serves as both a solid base and a structure from which the work can proceed, that adapts as necessary.

In the case of designing a set of concert tour materials, one example of an above adaptation may be to go from designing a single tour poster—to a small poster series done by studio collaborators. In the case of a publication, it may mean to transition from five 16-page daily broadsheets to a weekly-published 64-page tabloid.

Considerations the typographer is making at this point

As the brief solidifies, the job of the designer is to give the textual elements and their medium physical form. Even small projects pose big questions here, because of the seemingly endless possibilities and the constraints each imposes. In print design, getting the body copy working with the publication dimensions, adjusting each as one goes, and exploring substrates and the processes by which the piece is produced and bound is the first step toward putting real evidence behind this second part of the brief. With each serious paper option, run press checks and make a series of paper dummies to hold, heft, flip through, and examine how each feels.

What’s a substrate? Most commonly in print work, it’s paper. Substrate is a broad generic term for the underlying physical layer onto which one puts content. This includes all materials that carry the graphic information you apply to them, even physical pixels. And also in print there are a range of non-paper substrates used, each with its own limitations and peculiar processes for printing on or otherwise marking the sheet.

Paper and paper-like substrates

Paper, either hand-made or machine-made comes in a broad spectrum of weights, finishes, fiber content, colors, coatings, and specialized purposes. This is not to mention that there are fundamental differences in the ways that different classes of paper are produced. All laid, for example has a characteristic set of chain lines visible when held up to light. Most of the paper in use today is wove, which has a more or less uniform texture throughout. I could describe each category listed above in more detail, but I suggest instead a field trip to a paper supplier or well-stocked design studio, or that you order a range of samples for comparison. I do want to briefly focus on two important aspects of paper:

Basis Weight generally helps in determining the suitability of a paper stock to a given usage. It’s the paper’s density that the word ‘weight’ here is trying to describe. In the US, you need to pay close attention to whether it’s a cover weight or a text weight for the number to be remotely useful. It’s given in pounds, with the understanding that, for example, one ream of 40 pound text (40#t), weighs 40 pounds. You may be asking yourself, “Forty? Really? A ream is only 500 sheets. They must be huge sheets of paper.” You’d be right. For text grades, the sheet measured is 25 × 38 inches. Different grades are measured off of different standard sizes (and different quantities for what constitutes a ream). Without physically examining a given stock of paper from a manufacturer, it’s impossible to know what you’re getting. I really envy what the metric system has done elsewhere, with its no-nonsense paper density measured in grams per square meter.

Grain determines in which direction a sheet of paper naturally bends, and most successfully folds. To experience this, pick up any normal sheet of office paper. Put your hands together in front of you with palms facing up and place the paper on top. As you begin to close your palms together, as you would to fold the sheet in half, note the resistance the paper gives to being folded. Now open your hands, turn the sheet 90° and repeat the process. Feel that? One axis bends easily; the other is a bit stiffer. Put the paper back in front of you in the position where it bends easily, and raise your hands to eye level. You’re now looking along the grain. This means that the paper’s fibers lay primarily in the direction you’re now looking. When designing any printed piece with pages that a reader turns, this is the orientation the grain should be in—parallel with the spine. When ordering paper, the direction of the grain is marked either implicitly, 13 × 19, by the second number, or more explicitly, with an underline, 18 × 24. Knowing this stuff is especially important if the design requires folds.

You may be asking yourself at this point, “Didn’t this discussion leave the subject of typography a long way back?” Well, it turns out that the whole of type, the history of the forms themselves, their units of measurement, etc., are responses to the societal, economic, and technical constraints of the time, including for a long portion of its history, the means of printing and ranges of quality in paper. So, the consideration of the suitability of a given type family to a paper stock is one; and two, if the typographer’s expertise is to extend thus far in creating the feel of the book or other publication, should it not also consider how the pages move when turned?

Other substrates

Once you get started, there’s really no end. Wood, glass, metal, concrete, stone, porcelain, fabric, leather, even live animals are subject to branding. Each has its own processes.

We’ll pick up this discussion next week, and I’ll get a into inks and processes. That’s it for now. Using Type continues here Thursday. Thanks to Berton Hasebe’s Alda for setting the title.

Fonts You May Have Missed

Fonts You May Have Missed

Jugo Script by Sudtipos
Jugo Script by Sudtipos

Brando by Bold Monday
brando
Suzee FY by FONTYOU
Sergio by FONTYOU
Sherlock by Wiescher

Sherlock by Wiescher

Newslab by Latinotype

Newslab by Latinotype

 


Continuing Promotions

Proba Complete Pack by Mint Type – 80% off until 10 June

DSari by Latinotype – 75% off until 12 Jun

Carmen SW and Pack by Typerepublic – 75% off until 15 Jun

Newslab Family by Latinotype – 75% off until 19 Jun

Adorn single weights by Laura Worthtington – 50% off until 19 Jun

Sherlock in OT and Web by Wiescher – 50% off until 19 Jun

Abdo Free by Abdo Fonts – 15% off until 2 July

Abdo Line by Abdo Fonts – 15% off until 2 July

Abdo Title by Abdo Fonts – 15% off until 2 July

Abdo Screen by Abdo Fonts – 15% off until 2 July

Abdo Logo by Abdo Fonts – 15% off until 2 July

Abdo Master by Abdo Fonts – 15% off until 2 July

Abdo Egypt by Abdo Fonts – 25% off until 2 July

Abdo Joody by Abdo Fonts – 25% off until 2 July

Abdo Misr by Abdo Fonts – 25% off until 2 July

Abdo Rajab by Abdo Fonts – 35% off until 2 July

Abdo Salem by Abdo Fonts – 35% off until 2 July

Pinto by FaceType – 50% off until 2 July

Archille FY by FONTYOU – 75% off  until 5 July

Booster FY by FONTYOU – 80% off  until 5 July

Brixton FY by FONTYOU – 70% off  until 5 July

Gauthier FY by FONTYOU – 50% off  until 5 July

Saya FY by FONTYOU – 70% off  until 5 July

Sperling FY by FONTYOU – 40% off  until 5 July

Suzee FY by FONTYOU – 40% off  until 5 July

Wes FY by FONTYOU – 40% off  until 5 July

Zitrone FY by FONTYOU – 50% off  until 5 July

Brando by Bold Monday – 30% off until 15 Aug


Want detailed showing of new fonts straight to your inbox? Make sure you’re receiving them in your inbox. They maybe getting lost in the promotions section. If you use Gmail then you can drag and drop the FontShop Newsletter from your Promotions Tab to your Primary Tab.

Buyer’s Guide: Webfont License Overview

Confused about webfont licenses? Here are our top five Buyer’s Guides to common questions about webfonts on FontShop.

1. Self-Hosted vs. Hosted
Learn the difference between the two types of webfont hosting.

2. How webfonts are licensed. 
Discover who should be licensed and how.

3. What formats are webfonts available in? 
With @font-face you can use various formats, but your license may only cover specific ones.

4. Can all webfonts sold on FontShop be linked to Typekit? 
Tips on how to recognize webfonts that can be brought into a Typekit account.

5. Can I install EOT or WOFF on my computer? 
Find out if you need a desktop license too!

As a bonus, check out out our education page where you can find tips on how to use type in print and on the web.

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

FontShop Friday Five: Birthday Bash

friday-five_20140520a

We know you’re busy and the Internet is a crowded place, so we’ll try to give you a little reminder on Fridays of what’s going on out there. Below please find five recent FontShop-related threads that you may have missed.

Antithesis

Even though Yanone’s Antithesis and accompanying video was released over a week ago, we still can’t get enough of it! Yves Peters gives a great summary of the 10 minute dance video and new typeface created by Yanone on the FontFeed. Check it out, we highly recommend it!

SF Design Week/Happy Birthday FontShop!

FontShop turns 25 this year and we are throwing a birthday bash during the San Francisco Design Week! On June 18th, we will open our doors during the free studio tours from 7-8pm where we will “talk type”, make some crafts, and enjoy some delicious cake!

New Fonts

We welcome new foundry lettersoup and announce several new designs from Facetype, Typolar and FONTYOU. Plus a new batch of promotions from Abdo fonts and FONTYOU.

Get Pinning!

If you’re like us, you’re always in search for new ideas and inspiration. That’s where Pinterest comes in! From character studies to huggable fonts, we continue to create boards for all your typography needs.

Gestalten Buyer’s Guide

Know the EULA rights and restrictions in this week’s Buyer’s Guide which focuses on foundry Gestalten.

 

 

 

Friday Five fonts: Adorn Serif Slab and Adorn Condensed Sans by Laura Worthington

Follow

Get every new post delivered to your Inbox.

Join 61,743 other followers