Kade and Freight Micro

Author’s note: I’m making transparency a central theme in this edition of Great Pairs.

Today we look at David Quay’s Kade together with Joshua Darden’s Freight Micro, and since I’m promoting the new Tryout feature at next.fontshop.com, all of the images shown here link you to their source, where you can go and mess around with the samples, and very possibly come up with something that works even better for your own purposes.

Quickly, let me add that this feature (the new Tryout feature) is limited to webfonts that we offer, so keeping this page open as a reference to what will work is advised: FontShop’s Webfonts. I also recommend against pasting text into the Tryout feature, and also, you should use a modern desktop browser. Going against this advice (as I have as part of testing the feature) will reveal what remains to be fixed, however, the feature’s failure to deliver the expected result looks a lot more like it’s simply not responding to your input. Sticking to options you can be somewhat confident will work will give you a much more positive experience with this tool. Today is May 23, 2013 and the above is all subject to change. Now on to Kade and Freight Micro.

Screen Shot 2014-05-23 at 10.04.11 AM

Reading about Kade, the concept comes from lettering on ships and docks in the Netherlands, an engineer’s approach to letter making. Getting my own good look at the face, I see it doing well in the portrayal of the idea of technical subjects, such as math and sciences. Freight Micro is one optical size of Freight (serif) drawn specifically to function at around 6 pt and below, and part of the larger Freight Super Family.

Screen Shot 2014-05-23 at 10.14.34 AMScreen Shot 2014-05-23 at 10.31.16 AM

The thing that really unifies this combination is its attention to the relationship between interior and exterior contours, hard lines wrapped with taut, smooth ones. In Kade, this is mainly a stylistic decision. In Freight Micro, similar results were arrived at under the constraints of performance at very small sizes. It’s fine, by the way to use a typeface intended for small sizes at larger ones, though be careful of it falling apart. The other way around (using type drawn for large sizes to set text) generally doesn’t work.

Screen Shot 2014-05-23 at 11.11.39 AM

That’s it. Great Pairs land here each *Wednesday.

*though you may have noticed today’s not Wednesday, it’s Friday. I had to replace a bad hard drive and got a little behind this week. Thanks for reading.

New Fonts This Week

New Fonts
Cardea by Emigre
Cardea by Emigre
Newslab by Latinotype

Newslab by Latinotype

Adorn by Laura Worthington

Adorn by Laura Worthington
Adorn by Laura Worthington
Adorn by Laura Worthington

Sherlock by Wiescher
Sherlock by Wiescher

Continuing Promotions

Business Penmanship by Sudtipos – 30% off until 22 May

Consuelo by Latinotype50% off until 28 May

Karol Sans by Type-Ø-Tones20% off until 31 May

Jugo Script by Sudtipos30% off until 6 Jun

DSari by Latinotype75% off until 12 Jun

Newslab Family by Latinotype75% off until 19 Jun

Adorn single weights by Laura Worthtington50% off until 19 Jun

Sherlock in OT and Web by Wiescher50% off until 19 Jun

Brando by Bold Monday30% 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: Self-Hosted vs. Hosted Webfont Licensing

You have two basic options, Hosted or Self-Hosted. Below are things to know when you are choosing between these options.

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.

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

Pinterested: Fonts for the Class of 2014

Pinterested: Graduation Fonts

Congratulations to the Class of 2014! We hand picked 14 blackletter fonts that are perfect for your graduation needs in our newest Pinterest board. Whether for announcements or a themed party, these designs will work perfectly. Good luck to all of you graduates out there!

More InDesign Defaults: Keyboard Shortcuts

First of all, thanks everyone for reading and commenting on last week’s piece on InDesign Defaults. Before moving on, I think I should stress that I bring these things up (setting defaults) mainly so that if you haven’t considered them, you have a place to start. And though I recommend specific approaches because they work for me, if you’ve thought it through and what you’ve got better suits you or your process, do that. Typographer and friend André Mora commented on his method of taking time to experiment with size and leading values before locking things into a grid, rather than enabling alignment to baseline grid by default. Not only do I find this a totally valid approach, it’s also a great one. It’s one I often take. The reason why I prefer working the other way is because it forces me to think in context of a grid system.

InDesign-Defaults-Keyboard-Shortcuts-2

Which I guess could veer us into today’s topic: Shortcuts. Adjusting one’s document-wide baseline grid settings can be cumbersome. Changing the increment by a half a point can mean hunting down the Preferences menu, then finding the appropriate dialog. For me, it makes more sense to just create a keyboard shortcut that takes me straight there. Since the default shortcut for Show/hide baseline grid is (alt/option + ’) which I already instinctively used, it seemed natural to make Open baseline grid settings relate somehow, so I set it to (shift + alt/option + ’).

Why working with standard keyboard defaults makes sense

Every designer selects and hones his or her own tools to some extent. The reasons why I choose to build off of standard keyboard shortcuts is because they’re the ones I learned first (so, out of comfort), and also because it helps keep my skills portable. For example, if I need to slip into someone else’s work environment for some reason, my hands won’t be tied. This also becomes a temporary consideration when an equipment failure requires one to wipe or reinstall a system.

Default InDesign shortcuts I use all the time

Beside the ones common to the OS/most programs, I most often find myself using these below. For Windows, substitute command with control.

Make selected text larger by 2 pt: shift + command + >

Make selected text smaller by 2 pt: shift + command + <

(2 pt is just the default increment by the way, set that in InDesign > Preferences > Units & Increments, Mac, or the same under the Edit menu in Windows.) Holding down alt/option with the above shortcuts changes size by 10 pt increments.

Toggle preview mode: W

Make me a new document, on the double!: alt + command + N

Bring forward / Bring to front: command + ] / shift + command + ]

Send backward / Send to back: command + [ / shift + command + [

Paste in place: alt + shift + command + V

Paste without formatting: shift + command + V

Toggle OpenType case feature: shift + command + K

In pro fonts, the case feature may do more than set the selected text in all caps, for example in MVB Verdigris, it also adjusts the spacing to a looser, all cap spacing. In JAF Bernini Sans, it substitutes in a set of mid-caps drawn just shorter than cap height, but taller than small caps, for use setting acronyms in running text.

Quick Apply: command + return

Screen Shot 2014-05-15 at 9.58.09 PM

This last one is really handy, particularly when applying things that don’t appear on the menus, such as custom styles you create. Also, things that do appear on the menus but are often quite buried, like OpenType features (all small caps or stylistic sets). By the way, if it’s accessible through the menus, you can make a shortcut for it.

I know I’m leaving plenty out for brievity’s sake; There are lots more. Consulting a good chart and familiarizing yourself with the unknowns is best.

Here’s how custom shortcuts are made

Screen Shot 2014-05-15 at 11.39.49 PM

Edit > Keyboard Shortcuts… opens the dialog. From here, pick your commands and assign a key sequence. The dialog will alert you to conflicts should you choose something that’s already taken. You can also save your set. This is handy because InDesign will every so often misplace all custom shortcuts. As I mentioned in the intro, it works best for me to make custom shortcuts that are intuitively similar to standard ones.

Consider adding these to your list of custom shortcuts

Screen Shot 2014-05-15 at 10.34.52 PM

It seems like I’m always using the Type > Change Case commands to capitalize a title or tone down some ALL CAPS. So for me, control + command + U / L / T / S gets me there.

Open baseline grid settings: shift + alt/option + ’

Here’s where I’m really looking for input: What’s missing from my list of suggestions—any shortcuts making your life better?

Mac-specific tip: This means Alt/Option.

InDesign-Defaults-Keyboard-Shortcuts-3

Sometimes checking the menu because I’ve forgotten the shortcut doesn’t seem to clear up anything at all. Anyway, the above broken pair of salad tongs ⌥ refers to your alt/option key. The outlined up arrow ⇧ is shift, the chevron or up arrow resembling a caret or circumflex ^ is control, and the cloverleaf, clearly marked on the keyboard, is command.

Okay, that’s it. Thanks for reading and please leave your suggestions and ask your questions in the comments section below. This series, Using Type continues Thursday. Thanks to  Charles Bigelow & Kris Holmes’s Lucida Grande for setting the opening title, and quite a few of my menus.

 

Introducing Tryout on Next.FontShop.com

reposted from The NextFontShop Team

tryout_head

Just in time for the TYPO Berlin 2014 conference, we’re releasing a first version of our upcoming Tryout feature on next.fontshop.com.

At the moment, it’s a disarmingly simple-looking beta that works only with webfonts*, but the initial preview version already takes you well beyond the scope of traditional live font-rendering.

What’s the Difference?

Though it looks like a blank page at first glance, the initial Tryout feature is in fact a powerful design tool. It’s a functioning layout template where you can create, delete, change and combine your rendered font samples freely. With its useful range of tools, you can play with the rendered font samples, changing their point sizes, line spacing and text alignment, and you can also change the colors of the text and background. You can design anything you want, using any webfonts of your choice. And every designer knows that a blank page is not just an empty space, but a wide open universe, full of unlimited potential. To start creating your own rendered layouts, just select the family of your choice, then click on the “Tryout” button.

tryout_1

Sharing is Collaboration

Naturally, you can “share” your designs with as many people as you like. But here’s a refreshing new twist: in our Tryout feature, “sharing” also means “collaborating”. Once you’ve “shared” your design with a person or a group, they can also edit it and send you back their changed versions, allowing you to work jointly on any design. This is not only extremely practical for professional use, it’s also a great opportunity for users to bounce around ideas and inspire each other. To try this feature, just create a design in the Tryout page, then click the “Share” button—and let the fun begin!

More in the Works

In upcoming versions, you can look forward to more Tryout templates, tailored for practical use-cases such as blog designs, book texts or websites. Soon you’ll also be able to browse them for new families, work with your “favorited” items, upload images and test out the finer capabilities of the fonts, such as OpenType features and much more.

tryout_3

Essay Text and Carter Sans

Today we look at the nice, natural relationship between Ellmer Stefan’s Essay Text and Matthew Carter’s eponymous Carter Sans, which was co-produced by Dan Reynolds.

Essay-Text-and-Carter-Sans-1
The thing I see most pronouncedly in Essay Text is a deliberate leaving in of the details—things that would be stripped or otherwise rationalized away. To make it clear that these small touches (such as its pointed curves or a seemingly misplaced heaviness in the tail of the y)  have a purpose, the same are emphasized to allow demonstration of the principle.

Essay-Text-and-Carter-Sans-2 Essay-Text-and-Carter-Sans-3
Together with Essay Text, I’ve paired Carter Sans. A sans it is, though its flared terminals land this also in the category of Glyphic, or Thorn Serif. (The term glyphic here makes reference to lapidary inscription.) Carter Sans has a nice, hearty and uncomplicated feel to it. Seeing the two together was enough to convince me of their compatibility.
Essay-Text-and-Carter-Sans-4 Essay-Text-and-Carter-Sans-5

Great Pairs continues here Wednesday.

New Fonts This Week

New Fonts
Suzee FY by FONTYOU
Sergio by FONTYOU
DSari by Latinotype
Secca Soft by Astype
Sperling FY by FONTYOU

Dylan Copperplate by Wiescher

Campan by Hoftype

Caboom by Wiescher

Brando by Bold Monday
Bodoni Classic Fleurs by Wiescher
VLNL Bleek by VetteLetters
Bodoni Classic Fleurs by Wiescher
VLNL Duct by VetteLetters
Bodoni Classic Fleurs by Wiescher
VLNL TpBarPaco by VetteLetters
Bodoni Classic Fleurs by Wiescher

Continuing Promotions

Business Penmanship by Sudtipos – 30% off until 22 May

Consuelo by Latinotype50% off until 28 May

Karol Sans by Type-Ø-Tones20% off until 31 May

Jugo Script by Sudtipos30% off until 6 Jun

DSari by Latinotype75% off until 12 Jun

Brando by Bold Monday30% 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: New Category Page

The Category page at FontShop has been rebooted! It is now easier than ever to explore our catalog and find new fonts to love.

Choose from one of eight common categories: Sans, Serif, Slab, Script, Display, Blackletter, Symbols, or Non-Western.

Narrow your results down further by clicking on a subcategory. Or, sort your results by Newest fonts or Bestsellers.

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

FontShop Friday Five: Mother’s Day & New Fontlist

fridayfive-008

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.

New Fontlist: TDC 2014 Award Winners

Check out a new Fontlist curated by David Sudweeks with the Type Directors Club of New York Award Winners for 2014. The TDC is a non-profit professional organization dedicated to educating its international membership and the graphic arts community about type. View the complete list of winners here.

Mother’s Day Inspiration

Still need to make your mom the best card in the universe?! We got a quick fix for that. Check out our Pinterest page with several boards that will get those design juices flowing and will surely make you her favorite this year.

Newsy Newsletter

Have you seen our most recent newsletter? It’s jam packed with great designs and promos! If you haven’t, make sure to either subscribe or check your “Promotions” tab if you’re a Gmail user.

New Fonts

We welcomed new foundry Stereotypes to FontShop this week! A total of twelve gorgeous new designs can now be found here.

Buyer’s Guide

Our sales and support team gives an update on the new filters and free fonts page in this week’s Buyer’s GuideNow you can filter for OpenType, TrueType, or Web.

 

Friday Five Fonts: Acta Symbols by DSType and Sweet Sans by Sweet

InDesign Defaults

When Matthew Butterick mentioned this series as a good online source for reading about typography, he also mentioned its general bias towards InDesign in the examples I give. That’s true. And while I deal with and have dealt with plenty of other tools, software and otherwise, for editing, writing, drawing, setting and composing what will ultimately become design that’s typographic in nature, InDesign, particularly the few-generations-old InDesign, is the one I regularly turn to when working with digital type.

Screen Shot 2014-05-08 at 10.13.05 PM

I have to a limited extent touched on the most popular typographic medium, hypertext, and its conveyance, your browser, but it’s still unnecessarily complicated to talk about a simple concept in a simple way, say, kerning, or small caps, when web standards aren’t there yet, and there’s no good way of ensuring that the results I’m getting are the ones you’ll get. Other stuff like columnar layout and text flow, H&J, baseline grids, and the ability to detect the size of final output, are altogether missing from browsers or in their infancy. All that, and the fact that a fixed medium  lends itself well to making a single set of arbitrary and finite adjustments here and there is one of the things that has always drawn me to print work, and for this specific purpose (demonstrating the principles of typography), caused me to remain with a tool made for print production. (That said, I do plan to focus more on typography in the new medium as part of Using Type, but I’ve had a good long run so far sticking to the basics in the old.)

Internal note

As a kind of wrap to what I’ve written in the series thus far I thought, ‘This writing isn’t really giving much of a glimpse into the typographer’s brain; more like the brain stem.’ These principles I’ve covered aren’t what typographers talk about, just as musicians rarely discuss fingerings, or emergency room doctors their stitching technique. These become built-in, and felt, and what happens beyond that point in the creative process becomes much harder to describe. That’s where I want to go though. At least get to something concrete that articulates a principle better than, ‘You’ve just got to feel it.’ There’s wisdom in following one’s instincts, but if the reader doesn’t see the reasoning that leads to the platform from which the typographer instinctively leaps—to the next decision, little good it does. Those benefited are almost exclusively the readers who already understand the concept, those who also ‘just feel it.’

Anyway, forget all this. I’ll get to it and either strike gold or retreat. Today, and over the next couple of weeks, I want to talk more about what happens inside that typographer’s brain stem. And this is shop talk, the painter reviewing his list of brushes and ladders, the photographer his lenses. Kind of as a last final rundown, I want to go specifically over the conscious decisions made working with InDesign before the first project file opens.

General note on setting defaults

When in InDesign, or any of the major CS or CC Adobe apps, the way to set a program-wide default is by setting something while no documents are open. To make document-wide defaults, (and I’m actually not sure this works everywhere) you specify something while nothing in the document is selected. There are other defaults, such as New Document and Print menu defaults, which are set within those menus using a Save Preset dialog.

The defaults

With no documents open, consider what to keep from what’s already chosen for you by default. In the Character palette, set the font family and size if you have one in mind. Here I set mine to Jordi Embodas’s Pona 9 pt and leave the leading set to auto. That’s what the parentheses mean.

Screen Shot 2014-05-08 at 8.58.25 PM

Now, this next part is important. Set the kerning value to Metrics. This, not optical, should be your default. See above.

Screen Shot 2014-05-08 at 9.21.00 PM

Also, through the top rightmost button on the Character palette, which looks like a tiny down arrow next to three horizontal lines, enable Ligatures and Contextual alternates. This last one allows for example complex connected scripts to work as intended.

Screen Shot 2014-05-08 at 9.10.04 PM

On to Paragraph. Select the Align to baseline grid option at the lower right. I also recommend hyphenation being on by default. Change if you disagree, or if the language you primarily work in doesn’t have a very good hyphenation dictionary or whatever.

Screen Shot 2014-05-08 at 9.36.11 PM

The place you set up the baseline grid is under (on the Mac) InDesign > Preferences > Grids, or the same under the Edit menu in Windows. Here I set my increment to 6 pt, and Start at the top, 0 in.

And of course I use points and inches because I’m an American, but if you’d prefer millimeters and centimeters, the same can be set one dialog up from Grids in Units and Increments.

Screen Shot 2014-05-08 at 9.47.47 PM

Unless you work primarily with Pro fonts, the following is ill-advised: Go to Advanced Type and set the Small Cap height to 25%. And while you’re at it, you may consider altering the superscript and subscript values. What will this do? Instead of InDesign surreptitiously inserting fake small caps, this setting will make all fake small caps terribly noticeable. You can then go and replace them with properly drawn and proportioned real small caps. The same goes with these settings for super- and subscripts.

Screen Shot 2014-05-08 at 10.07.44 PM

Screen Shot 2014-05-08 at 9.59.37 PM Screen Shot 2014-05-08 at 10.02.38 PM

Lastly, hyphenation and justification. Follow these settings, referring to my post on the subject to know when to deviate, for example, when exporting a PDF to be read primarily on-screen you should never scale glyphs. These are set from the top rightmost corner of the Paragraph palette. After looking at it, I think I’ll have to revisit my decisions on the hyphenation of certain words or words that lie in precarious places.

That’s it for now. What am I leaving out? Next week we’ll continue on the subject of defaults. Thanks again goes to Jordi Embodas’s Pona (my new default!) for setting the title.

Berling Nova and Neuzeit S

Today we take a brief look at Karl Erik Forsberg’s Berling Nova and Wilhelm Pischner’s Neuzeit S.

Berling-Nova-and-Neuzeit-S-1 Berling-Nova-and-Neuzeit-S-2
One thing quite evident in Berling Nova is its ability to set running text with confidence – the way it carries its weight, and how much it dares use in a text face. The complete set comes also with two display cuts, for larger work, above. Something about this face, its cleanness and lack of ornament led me to find a similarity with Neuzeit S, while looking through the Helvetica Alternatives FontList. Neuzeit S’s roundness, spareness, possession of eccentricity, and generous spacing is as much of a unifier as I required. Reading about our sans companion today, I found out that the S stands for Siemens, the original client for whom the face was made. Should you require more than two weights of Roman, Akira Kobayashi completed and re-released a set of optically corrected obliques in the Neuzeit Office set. A Rounded variant also exists.
Berling-Nova-and-Neuzeit-S-3 Berling-Nova-and-Neuzeit-S-4
Together the two slip tightly into dominant and subservient roles, or mesh as well-fit, well-oiled gears.
Berling-Nova-and-Neuzeit-S-5

Great Pairs continues here Wednesday.

New Fonts This Week

New Foundry Stereotypes
Elsa by Stereotypes
Sergio by FONTYOU
Flenja by Stereotypes
Secca Soft by Astype
Florence by Stereotypes

Dylan Copperplate by Wiescher

Prism by Stereotypes

Caboom by Wiescher

Sarre by Stereotypes
Bodoni Classic Fleurs by Wiescher
St Atmos by Stereotypes
Bodoni Classic Fleurs by Wiescher
St Friska by Stereotypes
Bodoni Classic Fleurs by Wiescher
St Lorie by Stereotypes
Bodoni Classic Fleurs by Wiescher
St Marie by Stereotypes
Bodoni Classic Fleurs by Wiescher
St Mika by Stereotypes
Bodoni Classic Fleurs by Wiescher
St Ryde by Stereotypes
Bodoni Classic Fleurs by Wiescher
St Transmission by Stereotypes
Bodoni Classic Fleurs by Wiescher

Continuing Promotions

All Laski Slab in Web and OT by ReType – 30% off until 7 May

Business Penmanship by Sudtipos – 30% off until 22 May

Consuelo by Latinotype50% off until 28 May

Karol Sans by Type-Ø-Tones20% off until 31 May

Jugo Script by Sudtipos30% off until 6 Jun


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: New Filters on the Free Fonts Page

We’ve updated our Free Fonts page to include format filters. Now you can filter for OpenType, TrueType, or Web. Yes, we have free webfonts!

The filter buttons are located just above the sample text bar.

freeefonts

Excited to explore the free fonts FontShop has to offer? Stay tuned to the blog to hear about our new Category page in next week’s Buyer’s Guide.

Pinterested: Fonts a Mother Would Love

 

Pinterested: Mother's Day

It’s that time of year again where we show our appreciation for that special lady in our lives.

On May 11th, amaze your mom with a one-of-a-kind card! We’ve picked out a few perfect fonts for you and some fStop images on our Mother’s Day inspired Pinterest board. And don’t forget a box of chocolates or a bouquet of roses to for that added touch!

Happy Mother’s Day!

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