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:
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:
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.
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.
Just a quick point I’d like to raise, since today’s USA vs Germany match has completely thrown off my schedule.
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.
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.
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.
Great Pairs continues here Wednesday.
50% off till August 8
HWT Artz – 20% off until 30 June
Pinto – 50% off until 2 July
Archille FY – 75% off until 5 July
Booster FY – 80% off until 5 July
Adria Slab and Adria Slab Web – 90% off until 15 July
Abelina Pro and Abelina Redux OT – 30% off until 20 July
Clasica Slab – 75% off until 23 July
Brando – 30% off until 15 Aug
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
If you have additional questions you can always email FontShop’s Support Team for help.
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.
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.
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.
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:
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.
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.
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.
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).
More additions: FF UI Icons
Need to brush up on your typography?
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.
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.
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.
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, 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?
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.
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.