Patron, new typeface released by Milieu Grotesque.

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Patron, a sans serif influenced by type designers Günther Gerhard Lange and Roger Excoffon. Patron has been developed
by uniting their contradictory approaches to create an expressive, yet versatile grotesk.

As a result, Patron is characterised by a generous x-height, distinctive stroke endings and an unconventional shift in balance, inspired by Excoffon — and a precise, consequent and modern interpretation of which Lange was most famous for.

Patron was designed by Timo Gaessner from 2011 to 2014 and comes in twelve styles in total (six weights with corresponding italics). Each style comprises an extended Latin character set as well as a comprehensive set of OpenType features.

Signo typeface by Rui Abreu

This is the teaser video for Signo, a typeface Rui Abreu has launched today at MyFonts.

Signo is a dynamic sans serif with reverse contrast, designed for editorial and branding. The unusual stress angle for a sans-serif typeface, shifts the weight from the vertical strokes to the horizontal strokes, with a calligraphic modulation, attributes that favor the continuity of the letters in lines of text. Its tall x-height and open counters, work well in small sizes, making Signo a versatile yet charismatic typeface across weights, from caption size to headlines. The cursive italics are a good complement to the roman fonts and will add variety and warmth to the page. The Signo family comes in six weights, from Thin to Bold, and includes two weights for text: the Book and the Regular.

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You can take a look at the Signo Specimen, it is available for download.

New typeface release by G-Type: Precious Sans Two.

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G-Type’s first new font release of 2014 is actually a major reworking of an old one, Precious Sans, which originally appeared back in 2002. The new family is called Precious Sans Two, available from g-type.com with a 50% discount until the end of January, then with 25% off the standard price until Feb 28th 2014.

 

Over a decade after it’s first appearance G-Type’s Nick Cooke decided the time was right to re-appraise the typeface, scrutinise the old letterforms and make some important enhancements.

 

Make no mistake though, Precious Sans Two is no rudimentary re-release; nearly every character has been redrawn, re-proportioned, respaced and generally improved.

 

Improvements

The original Precious Sans was well received at the time but certain quirkier characteristics, the extended lower case ‘f’ for instance, or the binocular ‘g’, were perhaps too prominent and a little distracting. Short terminals on the ‘a’ and ‘s’ also made the first Precious incarnation less appealing when used as body text. Second time around the major overhaul has not only addressed the shortcomings of the original but made huge improvements right across the board:

 

• enhanced legibility and suitability for text use

• more streamlined range of 6 weights; Thin to Black plus matching italics

• cross platform compatible OpenType OTF format

• proportional and tabular figures

• extended language support for Western & Central Europe, the Baltic states & Turkey

• small caps, accented small caps & related case sensitive forms

• extra stylistic set containing the original quirkier I, f & g alternate glyphs

• extensive suite of discretionary ligatures

• 20 directional single and double arrows in each of the six weights

 

Precious Sans Two is a crisp and distinctively modern typeface, well equipped for advanced typographic use in print, web and digital publishing environments.

 

Visit g-type.com/precious-sans-two-font for more specimens & information, or email info@g-type.com

 

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About G-Type

 

G-Type is a digital font foundry and experienced type design studio founded by Nick Cooke in 1999.

 

G-Type excels at designing logos and custom fonts for leading brands and organisations around the world. Companies and publications as diverse as Vauxhall, Tesco and The Mail On Sunday have had well received typographic makeovers courtesy of G-Type and many more, including NBC and Cadburys, use G-Type commercial fonts as the cornerstone of their corporate styling.

 

Cooke’s Chevin typeface brands the Royal Mail with distinction and is highly visible at every Post Office throughout the UK. Three other popular G-Type typefaces to achieve international acclaim are the sans serif Houschka family and the successful handwritten scripts Olicana & Rollerscript.

 

The G-Type retail library is a wonderfully varied and versatile collection of high quality original fonts, invariably containing feature-rich ‘Pro’ character sets brimming with alternates, ligatures, multiple figure options and extensive language coverage.

 

 

All fonts & images © Nick Cooke / G-Type

 

www.g-type.com

info@g-type.com

@gtypefoundry

Medusa font, by Re-Type

New from ReType, Medusa is Ramiro Espinoza’s homage to one of the most renowned masters of Spanish calligraphy, Ramón Stirling, who was active in Barcelona during the 19th century. Not much is known about his life, and there is even some doubt as to his real name, but his Bellezas de la Caligrafía(Beauties of Calligraphy) is one of the most exquisite English roundhand manuals ever produced.
The starting-off point in the creation of the typeface was an analysis of the historical models of formal English handwriting and the ways in which those styles had been adapted to the typographic technologies of different eras.

Nowadays, the OpenType format affords the possibility of solving this problem. Instructions can be programmed into a font to automatically select the appropriate alternate glyphs as the user types. Despite the existence of this option, no one has yet published a copperplate typeface that is a faithful reflection of historical writing models, connecting “b”, “o”, “v” and “w” in the correct manner. Extra effort is required to program and design the many alternate character sequences necessary, and this has not been implemented by type foundries accustomed, as also are type users, to the familiar faux convention.
At ReType we decided to move in the opposite direction. We didn’t force the shape of hard-to-format letters into the service of technology, but rather resolved to press technology into the service of respecting the original graceful quality of those letters.
Medusa is much more than a mere digital transfer of Ramón Stirling’s model. Several of the original letters, such as “f”, “s” and “z,” whose appearance was somewhat weaker, have been replaced by designs based on Espinoza’s own accomplished pointed nib calligraphy.

 

In addition, numerous elements lacking in Stirling’s book have been added. The fantastically ornate capitals were redrawn in order to strike a greater balance and enhance the consistency of the set of letters as a whole. Several swashes and ligatures were also created from scratch, but with an unwavering respect for the formal rules of pointed pen calligraphy to ensure that theirductus was correct. Perhaps the most unusual feature of Medusa is its small caps, which have been carefully designed to produce an all-cap setting that is stylistically harmonious with the classic copperplate script, something which has up to now been missing from this genre of typeface.
Finally, we are offering a separate set of modular swashes that enable complex decorative headings and cartouches.
We are pleased to say that Medusa is a complete script system the unique features of which will lend elegance and sophistication to a wide variety of design projects.

Typecaster for life

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A recent Thursday at 10:23 a.m.: In the basement of Arion Press, where they still print books the old-fashioned way, Lewis Mitchell slid open a box of parts used to change the font size on the Monotype casting machines he has maintained for 62 years.

“I thoroughly enjoy the sound of the machines turning, and seeing the type come out is a joy,” Mitchell said.

He can tell by the sound of the moving springs and levers if something is awry with his machines — a skill he said all good technicians should have. Four different owners have run the business since Mitchell walked through the doors at age 18, and he has had several opportunities to leave, including a scholarship to the Massachusetts Institute of Technology that he declined. Now 80, Mitchell can’t imagine retiring from the job he loves so much.

When Mitchell started making this kind of type, it was really the only way to print things, and now he doesn’t know how many books he’s helped print over the decades. There were once type-casting operations in most major U.S. cities, but now the practice is almost extinct. There are only two companies left in the world that cast type for printing presses, and Arion is by far the largest.

Mitchell has four grown children and nine grandchildren, but he calls the 20 type-casting machines his “babies.” “I treat them with kindness. I don’t use a hammer on them or an oversized screwdriver.” The first machine, which started the company during 1915 Panama Pacific International Exposition, is still its best machine — proof that Mitchell’s methods work. “My dad taught me from square one if you going to do something, you’re going to do it right or you don’t do it.”

By San Francisco Chronicle.

FontBook – The Bible

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I think I need an iPad.
FontBook, now in version 2.0, is the world’s most comprehensive typographic reference tool, containing 110 type foundries and featuring over 620,000 typeface specimens. This 7 min tour explains the main features of FontBook.

Description on their site:
If typography were a religion, this would be the Bible. FontBook is the world’s most comprehensive typographic reference tool, containing 110 type foundries and featuring over 620,000 typeface specimens. Use the FontBook app to look up and view fonts by name, style category, typographical subclassification, designer name, foundry name, year of publication, or by similarity of design. Compile your own list of favorite fonts, and use the “compare” tool to test-drive fonts. Specially designed for fast, easy navigation and also works as a fun playground for finding inspiration.

FontBook is primarily an online browsing application and displays its full content only when your device has internet access through a WiFi or 3G mobile connection. However, if you have no online access, you can temporarily switch the “Include online content” setting to “off”. This will enable the app to display a reduced pool of selected content which will work offline. Whenever you do have online access, you can switch back to the full version by switching the “Include online content” setting to “on”.

www.fontbook.com

Aria Pro

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Aria Pro is a beautiful typeface by Rui Abreu, available at Fountain.

In his own words:

The inspiration for this typeface came from the epigraph on a frame of a nineteenth century painting. I was fascinated by the peculiar capitals of the inscription. The high contrast, and the overall quirkiness, especially the tail of the R and the oblique stems on the M, was interesting.

I decided to draw a display font with high contrast and a vertical axis, in a reference to the transitional form. Still I wanted to capture the spirit of the original letters, which to me are so imbued with Romanticism. This approach allowed for some exuberance on the regular style, but also led to more calligraphic letterforms in the italic – in which “the flow of the curves” lead the way.

To add to this epigraphic nature there is a number of ornaments that accompany words accordingly to their uppercase or lowercase form. For versatility there’s also a good amount of ligatures, alternative glyphs, and a special set of ornamental numbers.

Typeface design: Rui Abreu
Movie trailer: Rui Abreu

Neutraface 2

I think it´s great! I already loved the Neutraface, and I guess House Industries made a very nice job with this new “raising the bar” design.

Neutraface No. 2 is a completely reconceptualized, redrawn and re-engineered version of our venerable best-selling Neutraface collection. The new collection complements the original Neutraface by satisfying a broader range of typographic needs with stylistic nuances that express ideas clearly and accurately. Neutraface No. 2 also includes an inline version of the titling weight for eye-catching yet classic and timeless headlines.