Creative Cloud customers now have access to 665 new fonts from 41 different type families, thanks to new additions from Monotype.
Many of these fonts were designed in the earlier 20th century and have since inspired a number of other typefaces in turn, which makes them valuable to have in your design toolkit. They’ve also seen a number of refinements over the years as they were all gradually adapted into digital type.
Browse the entire collection here.
Typography basically spells out creativity. It is everywhere we look, in the books that we read, the websites that we visit. Anything that has words and word art is typography. It is another level of creativity with various fonts and art. Basically fun art with words, letters and colour.
The world without any colour would be dull, that’s a fact we all know. This is the same reason why we evolved from the black and white TV to the colour TV. From the black and white photos to colour photos. From black ink to all the marvellous colours that we have today. Why typography? To add colour and creativity to the work that we do, Just like us casino online, they’ve been creative when it comes their games.
Ever looked at a book, and thought, the cover art of that book is amazing; I just have to read it. This is all due to the creative fonts that are on the cover. The fonts tell the story of their own. The way that you look at a book and assume that it is a horror, just by the way that the fonts are laid out.
The Magic in Word Art
This is the same magic that brands the world. The way that the Coca-Cola logo is on the bottle, or the h.p on your laptop. The way that the word art is used is pure magic. It can transport you to a whole new world just by looking at it. The magic also seen, by how only need to know a little to make a big difference. By changing one letter on the “Google” logo, a big difference is made.
Real Money Magic
Typography has found itself a home at best online casinos. The top internet-based casinos are using the art to make their sites more attractive to players. There have many instances even at land-based casinos, predecessors to online gambling, where the art-form has been used to advertise. Passing information in a catchy and fun way has proven to be a winning formula at gambling houses.
Type Life #2 out now
Lovers of type, rejoice! The second issue of Type Life is out. Published just in time for the holiday season, SWTY Publishing again brings a cornucopia of visual inspiration that will warm the cockles of the typographer’s heart. On 36 pages – a whopping 16 more than in the inaugural issue – Swiss Typefaces presents insights into their cosmos of style, fonts, and fashion. Type Life is the only place where you’ll find both Rihanna and Rudolf Koch, where social media snippets are framed by engravings from the Caslon type foundry, and where a douk-douk knife ends up next to a 15th-century Danse Macabre. As usual, Type Life doesn’t make many words, and instead shows plenty of letterforms. Printed in no less than seven Pantone spot colors, the publication features rotated and mirrored words, slanted roman page numbers, radial gradients and all the other things your design prof wouldn’t approve of.
SangBleu Typeface Legacy 2007–2017
At the center of issue 2 is Sang Bleu. That’s the name both of a typeface from Swiss Typefaces, and of an independent multi-disciplinary media platform and creative agency. The two were initiated together and share a common history. From the very first incarnation in 2007 to the new SangBleu typeface completed in 2017, the SangBleu typographic identity has built a legacy for itself. Many SangBleu fonts debuted in the Sang Bleu magazine, a publication about fashion, tattoo culture and more. Some of them later made their way into the Swiss Typefaces catalog of retail fonts, others remained private, like the runic-looking SangBleu Sex. Yet others were at one point available for licensing, but now are retired, like the supertight SangBleu G-String.
Since 2010, Vogue Magazine commissioned several custom versions of the SangBleu typeface from Swiss Typefaces, for their Brazilian and Turkish editions. SangBleu Vogue Turkey is based on the Sans, with the dots of Ü vertically arranged within the interior shape, so that all-caps headlines can be set big, with minimal line-spacing. SangBleu Vogue Brazil is derived from the Serif, with longer serifs and luscious swash capitals. Type Life shows reproductions of covers and feature pages, next to remix versions that give a hint what Vogue would look like if Swiss Typefaces were in charge.
Swiss Typefaces doesn’t do scripts, right? Wrong! SangBleu Snakes is a script variant of SangBleu, or, more precisely, a partly connnected cursive, with swash alternates, crazy ligatures, and twitchy strokes that look like the typographic equivalent of static noise. This experimental font is here shown in detail for the first time, together with an in-use example from 2014, when it appeared on a limited-edition series of skateboards.
Each issue of Type Life features a guest artist. This time it’s Studio Jimbo from Paris. In their contribution, letterforms from the SangBleu and KRSNA typefaces dissolve in a blizzard of halftone dots, with a death’s head staring at you from the eye of the storm. This leads to an introduction of the all-new SangBleu typeface, released in October 2017 in five full-featured collections – Empire, Kingdom, Republic, Versailles, and Sunrise – each in a range of weights with matching italics, in Latin and Cyrillic, spanning 45 styles in total.
The fonts are accompanied by a prestigious book release. “SangBleu Typeface: The King, His Court, The Explorer & The Gift” is more than a formidable printed specimen: It includes a short novel by Daniela Party, specifically written for this purpose. Set in the 17th century, it narrates the story of Metzli, an indigenous Mexican woman who is captured and sent as a gift to Louis XIV, the Sun King – a gift that would set off a series of macabre events involving witchcraft, lust, envy, and death. The book is available in a limited edition of 1,000 copies.
Finally, the back cover offers a glimpse into Euclid, the best Geometric Sans typeface ever, which has just been expanded with four new collections. Chances are that this typeface will be featured in depth in an upcoming issue of Type Life. In the meantime, order your copy of No. 2 and dive deep into SangBleu.
205TF team just wrotes us telling us about their latest release, the font Cosimo by Matthieu Cortat.
Humanist Sans have sometimes a tendency to be over-roundish, slender, mannered, mimicking the calligraphy. With Cosimo, Matthieu Cortat proposes a font in the spirit of Gill Sans, with strong shoulders, few contrast, a certain darkness in print, which gives it strength and serenity.
Contrarily to many font of this style, its italic remains simple and quiet.
With its clear and defined range of weights it possesses a versatility which makes it suitable for many purposes, book, titling, magazines, websites…
Nice light, straightforward Regular, virile Bold and peppy Black, each weight has a slightly different personality, but they match each others, making Cosimo a well-grounded font for every-day use as well as dressed-up layouts.
Matthieu Cortat, born in 1982 in Delémont (Switzerland), is a graduate of the École d’art de Lausanne (ECAL) and of the Atelier national de recherche typographique (ANRT). French naturalized, he lives in Lyon where he is advisor to the collections of the museum of Printing and Graphic communication. He created the French typographical corpus, which brings together the typefaces in France between 1850 and today. Matthieu Cortat is now head of master Type design at ECAL in Lausanne.
You should check out 205TF, a type foundry that brings together the work of independent typeface designers, some of them well known, others closer to the beginning of their career, all highly talented. Each of them developing characters where a certain French spirit can be felt.
A modern slab serif that ranges between capable and casual is the latest release of Jakob Runge and Lisa Fischbach. Harrison Serif Pro is a sturdy yet contrasted slab serif that combines a rational and efficient approach with a warm voice. A typeface of nuances, the slightly carved and occasionally extended serifs evoke the friendly side of Harrison Serif and contrast with the straightforward nature of the typeface’s squarish curves, open counters and horizontal emphasis.
Harrison was drawn for long form reading on screens and user interfaces, but the typeface’s more refined details come alive in high-resolution media and print. The almost mechanical vertical terminals, open counters and modest capitals combine with Harrison’s generous x-height to ensure the typeface holds up on screen. With improved ClearType hinting and a sturdy physique, no medium is a worry for this serif typeface.
Harrison Serif’s broad range of weights means that it’s more than a just a simple text face. From sheer Hairline to deep, dark Ultra, its weight spectrum is divided into nine distinct styles — leaving no need unfulfilled for editorial designers.
Further, Harrison explores nuance in its italics. Something between true italics and obliques, they range from the cursive to the playful, from the expressive to letters with the sobriety of unpretentious slanted obliques.
Of course Harrison provides all the OpenType features needed for ambitious typography: as well as a variety of figure styles, there small caps and the capitals-to-small caps feature. And you can have no doubt that it contains broad Latin language support and a set of helpful symbols.
Harrison is no flashy overachiever, but across multiple platforms it will prove itself a deft and useful tool — for whenever you want a modern serif that ranges between the capable and the casual.
Single style, starting from € 49 EUR
Complete family covering 9 weights, plus 9 Italics, starting from 299 EUR
Intro offer: 25% off on complete family with 18 styles = less than 225 EUR
Buy directly at TypeMates:
2017—Communication Arts magazine, a professional journal for those involved in visual communications, announces its 8th annual Typography Competition Call for Entries. The deadline for submissions is September 8, 2017. Any typographic project first printed or produced between September 2016 and September 2017 is eligible.
It celebrates the best use of typography as the primary visual element in design and advertising, plus new typeface designs, calligraphy and handlettering.
Chosen by a jury of leading design professionals, the selected entries will be distributed worldwide in the Communication Arts Typography Annual, both in print and digital editions, and on commarts.com, assuring important exposure to the creators of this outstanding work. Each winning entrant will also receive a personalized Award of Excellence, milled from solid aluminum.
Submission Guidelines and FAQs can be found at: commarts.com/competitions/2018-
Past winners can be viewed online at: commarts.com/magazine/2017-typography
p98a is an experimental letterpress workshop in Berlin Tiergarten, dedicated to letters, printing and paper by Erik Spiekermann, Ferdinand Ulrich, Norman Posselt, Axel Nagel, Jan Gassel, Laureen Mahler, John Peck, R.Jay Magill and Susanna Dulkinys. They explore how letterpress can be redefined in the 21st century through printing, research, collecting, publishing and making things.
Erik Spiekermann: Letterpress; as a printing process it survived because it became a hobby thing and a hipster activity. They use polymer plates to get that deep impression which would destroy metal type. Now at p98a (above) we have developed a method to produce metal-backed polymer plates without first having to make a negative. Direct to plate, up to 52 by 72cm, so eight book pages at once. The best of digital typography combined with the best method to get black type onto paper. It results in a slight bite of type into paper, not a deep debossing, but it achieves what Adrian Wilson* described:
It is the refraction of light
in the well of impression
that makes relief printing
They are also seeking submissions for the first time, so it is your chance to be published in Paper 06.
The Futur has released an animated video on typography, full of important typographic terms and terminology. Take a look.
This monowidth font family increases the functionality of the Zeitung font family, resulting in happy programmers, smiling ASCII-kids, razor-sharp journalists and finally: worldpeace.
Some of the worlds best known sign is the welcome sign when you arrive to Las Vegas Nevada. The classic casino sign is one of the worlds most photographed signs and a quick look at #lasvegassign on Instagram gives you an idea of how popular it is. The sign was originally designed by Betty Willis who was an American graphic designer, born in Nevada.
The sign states “Welcome to Fabulous Las Vegas Nevada” on the front, but also has a sign on the back saying “Drive Carefully, come back soon”.
A lot of different fonts have copied the Las Vegas-sign, some of them is Scriptorama Tradeshow JF and Franklin Gothic.
The casino-sign was never copyrighted
One of the big reasons for it’s enormous popularity is that the sign was never copyrighted. The designer saw the sign as a gift from her to the city and wanted the sign to be as public as possible. This has resulted in a much larger spread for the sign and the sign can be seen anywhere, but mainly on casino related products such as Casinojakt and mainly on Las Vegas souvenirs.
This means, if you’re starting a new company or service, you are free to use the design of one of the most photographed signs in the world without paying a dime for it.