Monthly Archives: July 2012

Canary by Mark Frömberg

Mark Frömberg’s Canary just arrived from Gestalten this week. Canary is a script face – but unlike most script faces – one quite capable of setting text in its regular weight. (Alice Savoie’s understated Capucine comes to mind as another face in the same vein, as well as Calcine, also from Mark Frömberg.)

One area where Canary shows its strength is in its extensive collection of alternate forms and ligatures for lowercase, small caps, uppercase, and mixed case. See them all by selecting ‘Character Set’ below the Specimen tab on the product page. Canary comes in a range of weights from Light to Extra Black.

Happy Birthday FontBook: A Year of Awards

Coming up on its first birthday, we’re so proud that the FontBook app for iPad has made such a splash this year! A quick recap of the recognition this mobile typeface compendium has garnered since July 2011:

We’re not resting on our laurels though, as FontBook enters toddlerhood, we’ll see what it can do!

New Fonts This Week

All new fonts this week from the following foundries:


Latte by Saad Dean Abulhab

Canada Type

Monte Cristo Pro by Patrick Griffin, Kevin King

Zilvertype Pro by Hans van Maanen


Filmotype Jamboree by Stuart Sandler

Filmotype Yukon Family by Alejandro Paul


Branji Arabic by Naji El Mir

Canary by Mark Frömberg

Gratis Pro by Martin Aleith

Lektura by Martin Guder

Qalto by Aron Jancso

Sinews Sans Pro by Jakob Runge

There’s more to come on these, so subscribe to our newsletter, read this blog, and reply to our tweets on Twitter.

Celebrating a Year FontBook App for iPad!


Believe it or not, the FontBook App for iPad is turning 1 this Saturday! Stay tuned to the blog this week as we look back at a terrific year (and maybe eat some cake).

Family Names in FF Chartwell Lines

FF Chartwell Lines is the sixth in our series of making charts out of type with FF Chartwell. Thinking about how foundries and type designers name their faces, I decided to pull some values from our internal data here at FontShop to see what the prevalence was by letter. For example, we have 625 type families that begin with A, and 723 that begin with B.

Taking the values for all 26 letters, I dropped these into a spreadsheet and then turned each value into a percentage of the highest value. The resulting integers were right where I needed them to be (between 0 and 100), so I put plus signs in between, set the font to FF Chartwell Lines, and enabled ‘Set 1’ from the Stylistic Sets menu within the OpenType panel. I set some colors and labels, et voilà!

But do I have to have some fancy design program to use FF Chartwell, you ask? It helps, but no. You can make charts out of type using FF Chartwell with any program that supports OpenType Stylistic Sets and Contextual Alternates. Word 2010 does. TextEdit that comes with your Mac does.

Above is a precursor image to the next and final segment of our Chartwell series on FF Chartwell pies. Read it here on Monday.

Buyer’s Guide: How webfonts are licensed.

When you license a webfont on FontShop you obtain the right to self-host the font on your site so that visitors can view your page in a specific typeface.

A webfont license is based on the number of pageviews per month for all websites, including sub-domains, for an organization. You pay a one time fee, not a monthly or yearly fee, until the pageview rate changes. Once the pageview rate changes, you can contact FontShop to extend support for your website. If you are creating content for a client’s website then the client, not you, must license the webfont.

Catch up on our previous Buyer’s Guide to get the full scoop on webfonts here! Next week, we’ll explain what EOT/WOFF are and how to use them in your code to self-host your webfonts.

Have a Pinterest-ing weekend!

Just like webfonts and OpenType in the font world, there’s no escaping Pinterest in the social media realm. We created boards to share with you on Pinterest — from new fonts to type in the wild to inspiring typography designs, we’ll be pinning some of our favorite finds from around the internet as well as showing off the great fonts we have available on FontShop!

If you miss an update or like to go back to see old posts such as our Staff Picks, our Pinterest boards will be a good source to keep you up to speed with our happenings. New fonts available on FontShop and any announcements can be seen on our New & Noteworthy board and helpful resources we have to offer can be found on our Typography 101 board.

If you’re feeling nostalgic, we also have a visual list of the fonts that were featured in our Best of 2011 newsletter last year. We’ll be recapping our Best of 2011 Typefaces through Pinterest with more eye candy for your typographical needs.

Every week, we’ll feature a typeface and showcase examples of fonts in use as well as relevant images from fStop with our “In Your Face” boards (e.g. Bello Pro). You’ll also be able to learn more about type designers with our “Designer Spotlight” boards (e.g. Goudy), which will focus on their work and influence.

We like to have fun here at FontShop — if you’re Pinterested, check out some of our other boards: Swashbucklers, Drop Cap It Like It’s Hot, and Amplified!

Sys 2.0 by Fabrizio Schiavi

Fabrizio Schiavi’s Sys has been updated to 2.0. In developing it, his goal was to create a versatile font family that functions well both in print and on screen. Schiavi took the ubiquitous system fonts Verdana and Geneva as models, since they read reliably on screen in sizes as small as six points. The basic shapes of the letters are geometric. The proportions of Sys 2.0 take FF DIN and FF Isonorm as models.

Schiavi placed ink traps, small recesses into the acute angles of the letterforms, to prevent clotting at small point sizes. In introducing these ink traps, Schiavi realized an interesting side effect that arose once manual hinting was applied. The clarity of the letterforms benefited enormously as a result, and readability on screen and in print improved considerably.

The OpenType TrueType features of the family are particularly suited to corporate communications. Download a PDF explaining all of Sys 2.0’s features.

About the designer: Italian Fabrizio Schiavi works across disciplines. He designs fonts, websites, brands … in short, anything that furthers communication. His clients include Ferrari, CP Company, Mandarina Duck, Philip Morris, Expanded Music, MTV, Nike, Stone Iceland, Beretta and more.

25% off Kade, Lavigne, and Winco from ReType

ReType’s July promotion of Kade, Lavigne Text & Display, and Winco now give you no reason not to take a closer look at these finely crafted faces. Just to focus on one of them, here is Ramiro Espinoza’s Winco, an incised or glyphic type style, characterized by the subtle flare of its stems. Winco functions well as a text face in its regular weights and excels at display work in its more extreme weights.

Winco Complete / OT / Web

Also don’t miss:

Lavigne Text / OT / Web
Lavigne Display / OT / Web

Kade / OT / Web

The 25% off promotional price continues through July.

New Fonts This Week (continued)

We mistakenly overlooked in our updates these four new display faces from Three Islands Press. An extra dose of new font goodness for you this week!

Three Islands Press

Cedar Street by Brian Willson

and three more:

Oak Street
Speed Bump

New Fonts This Week

There’s more news to come on these, so check back here and subscribe to our newsletter, but for now, here’s all our latest.


Quatro Sans by Mark Caneso

The Quatro Family has extended to include nine weights of Quatro Sans, Roman and italic; 18 new fonts in all.

Tour de France Stages in FF Chartwell Rose

FF Chartwell Rose gives you a unique way of grouping data visually. You’ll notice that while sized differently, the rose ‘petals’ are all of equal width, which makes them ideal for demonstrating values that differ in one dimension, but remain the same in another. In this case I show 20 stages of differing lengths in the Tour de France. The stages progress one per day, and I’ve made two rose charts with 10 stages per chart.

Making the charts was really simple. I just took a list of stage lengths, normalized the values to percentages of their ceiling, and put plus signs between the resulting integers. (The values need to be between 0 and 100.) Once set in FF Chartwell Rose, I enabled ‘Set 1’ in the Stylistic Sets menu within the OpenType panel, and chose some shades of gray to represent each stage. There’s a screenshot of this panel in action in the previous FF Chartwell post.

I could have put all 20 stages into a single chart, (the maximum is 30 values per rose chart) but I opted to simplify a bit. Here’s what you get when you put all 20 in one.

The FF Chartwell series on making charts out of type continues on Monday.

Buyer’s Guide: Can all webfonts sold on FontShop be linked to Typekit?

Currently, you can only link Web FontFonts — webfonts that begin with “FF” in their name, such as FF Meta Web or FF Suhmo Web — to your Typekit account.

Hosting with Typekit

When you purchase a Web FontFont, you will be given a voucher code that links your Web FontFonts to your Typekit account. Send your Web FontFonts to Typekit by clicking on the link given to you when your purchase is complete. When you click on this link, you should be taken to a page that should look something like this:

At this point, you will be able to double-check to make sure you are linking the correct Web FontFonts to your Typekit account. You can then sign in to your Typekit account or create a new account.

If you don’t find a yellow box with a link to send your webfonts to Typekit when you’ve completed your purchase, you can still use webfonts. Remember, Typekit is completely optional and all webfonts on FontShop can be self-hosted!

Meet us in Milwaukee at TypeCon!

FontShop is pleased to be a sponsor of TypeCon2012. David and I (Meghan) from our San Francisco office will be there, so find us and say hello. As our resident type expert, David is excited about all the programs, but here’s his three “not to miss” for TypeCon newbies (and returnees):

  • Cyrus Highsmith’s talk on Friday morning. He’ll be discussing the concepts at work in great typography through focusing on the negative space. Word is Inside Paragraphs, Cyrus’s new book on the subject, will be available there too.
  • Saturday night’s Type Quiz separates the casually type-obsessed from the committed with questions like ‘Put the following five faces in order of their release.’
  • Sit down with John Downer, Akira Kobayashi and Roger Black Sunday afternoon while they review your latest design at the Type Crit. Stick around to see other type designers’ work and make some friends.

Tomorrow (July 7) is the last day of early bird registration…save some cash to splurge on the new designs you learn about at the conference!

TypeTogether’s Tablet Gothic

Tablet Gothic from Veronika Burian and José Scaglione of TypeTogether makes brilliant harmony of two disparate grotesque models in a healthy number of widths and weights. First created for setting titles in periodicals, the project grew to handle text setting quite well, with a comfortably loose fit in the regular weights.

The overall tone stays friendly throughout, helped by the face’s active, vibrant curves and casually closed forms.

When working in more traditional titling weights, the spacing eases into a more snug fit. Tablet Gothic comes in six widths: Compressed, Condensed, SemiCondensed, Narrow, Regular, and Wide. And each width comes in seven weights ranging from Thin to Heavy.

Get the whole family or buy only the weights you need. You can also try Tablet Gothic using the FontShop plugin in Photoshop or Illustrator, and download Tablet Gothic Semi Condensed Extra Bold free from