Typofonderie

The collection from Typofonderie is full of winning options for all sorts of design needs. Now that all their fonts are available in more places, this cheat sheet might come in handy.

What’s your type? Consult the Typofonderie cheat sheet for quick diagnosis. Courtesy of Typofonderie.

A sampling of serifs from Typofonderie: Le Monde Journal, Mencken Text, Mencken Text, PS Fournier Petit, Apolline, Le Monde Livre Classic, Geneo, and Apolline. Courtesy of Typofonderie.

Display sans-serifs from Typofonderie: Ysans Mondrian, Anisette, AW Conqueror Inline, Prosaic, AW Conqueror Inline, Ysans, AW Conqueror Sans, and AW Conqueror Carved. Courtesy of Typofonderie.

Underware

The Underware collection includes several outstanding and unique options that can make for unforgettable signage.

Bello literally takes up the whole room. Photo courtesy of Underware.

The mono styles of Zeitung. Courtesy of Underware.

TypeThursday San Francisco, photo by James Butler

ATypI in Antwerp

ATypI 2018 kicks off today, bringing its annual assortment of workshops, talks and symposiums to Antwerp. Find our own Frank Greißhammer on the Type toolmakers panel early on Wednesday. Later that morning Vinod Balakrishnan, our colleague on the Photoshop team, presents Evolution of digital typographic needs. Catch Frank at 9:25 am and Vinod at 11:40 am.
We’re also supporting the closing party on Saturday evening. Please join us there and hear some remarks from Frank and Taro Yamamoto around 10 pm.

TypeThursday in Barcelona — and beyond

TypeThursday adds its second European chapter this month, when Barcelona launches on September 20th.
Looking for a type event in a different city? Additional evenings of socializing and type crit continue in:

• Seattle (September 13)
• Los Angeles (September 20)
• San Francisco (September 20)
• New York (October 4)
• London (October 4)

Will you be joining in? Let us know, and see you soon!

New fonts from Adam Ladd

Adam Ladd’s eye for graphic design is clear in the fonts he’s designed, and we’re excited to add these to our collection. For designs that might otherwise feel a little flat, Active adds a visual texture and contains plenty of alternate character styles to play with.

For a more personal touch than bold Active, try the gentle script Braisetto. This one stands up on its own, especially for packaging and branding uses, but can also be paired with bolder fonts to add a warm contrast. We’ve got two weights of this to work with, too.
See everything we’ve added from Adam Ladd on his foundry page.

Source Serif Italics

The long awaited Italic complement to our popular Source Serif by Frank Grießhammer. Why were the italics released four years after the upright style? See Frank’s blog post where he walks through the design process. Source Serif is available open source on GitHub as well.

Rounding out Hidden Treasures with Reross

The Hidden Treasures of the Bauhaus Dessau collection is now complete with all five typefaces available for you to use. If you need an excuse to try them out, the design challenge is open until September 9.

Hundreds more from Monotype

We’re still reeling from this, to be honest — we added over 600 new fonts from Monotype to our library last month. In our roundup we walked through a few of the highlights, but there wasn’t time or space to give all the fonts their due recognition. You may recognize quite a few classics in there! Check out the Monotype foundry page for the full rundown.

New foundry partners, new Japanese fonts

Our freshest news comes at the end — just this week we welcomed two new Japanese foundry partners to Typekit. Learn more about Kinuta Font Factory and Skill Information”S” in our blog post, or go directly to the foundry pages to check out the new fonts.
Looking for new inspiration? You can always sort our font collection by Newest to catch anything we’ve added recently.

Kinuta Font Factory

Kinuta has been producing fonts for nearly twenty years, and we’re pleased to add three of these typefaces to our library.

Among these is Iroha 32 Sakura Kana, a fresh take on the Gothic style that is commonly used in signage around Japan. Our Kinuta contact refers to this one as a new alternative for anyone needing to set Kana text in the Gothic style. Give it a try and let us know what you think.

Skill Information“S”

Known for its focus on software development, particularly for the health services industry, Skill Information“S” found itself in the font business through a collaboration with Techno Advance Co, Ltd, in 2007.

Kenji Miyazawa was a poet, renowned especially for his children’s stories – many of which have since been adapted into anime.

Drawing from inspiration, and history

My Italics for Source Serif were initially something of a free association, especially compared to the Romans, which were informed by the type found in Fournier’s Manuel Typographique. When working on a historically-inspired typeface, it is very tempting to polish the design over and over, and remove all historical reference. In this case that temptation led to a less harmonious, faceless Italic design.
In consequence, I decided to redraw Italics from scratch, this time more closely inspired by some of Fournier’s work. This exercise helped me to inject some of the characteristics found in the original specimen. I tried to stay true to the historical source where I could; the limp leg of the k, the terminal-less j and the unique shape of the g are all Fournier references.

Why it took four years

Using Italics is a natural expectation for any type user today, and I received no shortage of requests for this after the initial release in 2014. I clearly understood everyone’s frustration, being frustrated myself about the initial delay.
One explanation is the fact that Source Serif itself is a part of a much bigger project: Source Han Serif. Many glyphs (and months of work) were needed, and since CJK writing systems do not traditionally use Italic styles, the emphasis of my work was to expand the Roman styles as far as possible, which manifested in a version 2.0 release in 2017.
When other projects weren’t a factor, there was also the nature of the design process to consider. Some days, progress is made very quickly; on other days, it feels like the ability to properly see the typeface just isn’t there. Over those years, I had plenty of both kinds of days.

Supported character sets

At the moment, the Roman styles of Source Serif support the Adobe Latin-4, Adobe Cyrillic-2, and Adobe Greek-1 character sets. They were initially released with just Adobe Latin-3 support, and gained the new character sets with the 2.0 release in early 2017.
The Italics have Adobe Latin-3 support today, just like the first release of the Roman did. Naturally, the plan is to align the character support across all styles, so that there are Greek and Cyrillic italics as well as AL-4 support for it. With Google’s support, we’ve been able to enlist the help of Irene Vlachou and Emilios Theofanous to help draw the Greek Italic.

It is with great pleasure that I announce the release of Source Serif’s Italics today. Sync the fonts directly from Typekit, or visit GitHub for the full range of downloadable versions, including variable fonts.

ITC Benguiat

Yes, it’s the Stranger Things font! ITC Benguiat was also a classic used in a lot of 1980s book covers, and it’s not unusual to catch it in signage today. Designed by Ed Benguiat, this font looks iconic even if you don’t make any further changes to the typesetting.

ITC Avant Garde Gothic

This one also involves the design work of Ed Benguiat, though in this case he was working from original designs by Herb Lubalin and Tom Carnase to expand the font they designed for the cover of Avant Garde Magazine in the 1970s. It’s insanely flexible, with a personality that comes through with thoughtful use of the alternate glyphs.

Gill Sans Nova

Mind the gap! Inspired by the type used in the London Underground, Gill Sans will definitely fit the bill if “midcentury train glam” is your desired aesthetic, but it’s also much more versatile beyond that. In the decades since Eric Gill’s initial work, several other designers have stepped in to design extended alphabets, making this a true typographic system with a Condensed width and even some fun shading and outline variants.

Plantin

This font celebrated its 100th birthday not too long ago, and it still holds up — in fact it was an inspiration for Times New Roman. Named after a 16th-century printer by the name of Christophe Plantin, the original cuts for this revival typeface were made in 1913 for hot-metal typesetting. Now we’ve got the tidy digital version of that.

Rockwell Nova

What would happen if you took a geometric sans typeface like Futura and added serifs? Designers at Monotype posed this question in 1934 and the answer was Rockwell. This has been a popular choice for decades of titles and branding, sometimes used for graceful, organized paragraphs and other times sized up for strong, commanding headlines. It fits right in almost anywhere, especially if you employ the Condensed width for tighter spaces.

Sabon

Sabon was designed precisely to spec, with a series of constraints that might sound pretty odd to type designers today:

• must work identically for Monotype, Linotype, and manual typesetting systems;
• no kerning (the letters all completely self-contained, with nary a crossbar bumping into the neighboring letter);
• italic and bold styles must not take up any additional space;
• also it needs to look like Garamond.

Lucky for us, Jan Tschichold was up to the task. The typeface released in 1967 ended up becoming enormously popular, especially for book typesetting.

Trade Gothic Next

There’s always a place for a typeface like Trade Gothic in a designer’s arsenal. It’s a go-to for clear headlines and fantastic in infographics. The Soft Rounded option is a great way to scale back if the regular style feels a little abrupt.
These fonts are all part of your Creative Cloud subscriptions now. Some may appear in a font pack in the future, so stay tuned for that — and in the meantime, enjoy getting these into your designs.

New scripts (and more) with Cyrillic support from ParaType

Kapelka

Bowman

New from Sudtipos

Envelove by Yanina Arabena

Speakeasy

Fort Foundry ships out Shackleton

Shackleton

Typefolio adds Obvia

Obvia

Get IBM Plex

Plex

Throughout the Conference

As part of our partnership with the Hamilton Woodtype & Printing Museum we will be supporting an exhibit of 10-12 vintage posters from the museum’s collection. The posters are rare circus and entertainment advertisements made from hand-carved wood blocks that date from the 1930s to the 1950s. They were acquired in 2016 from the Enquirer Printing Company in Cincinnati Ohio. The folks from Hamilton will also be bringing along some original blocks from the collection and printing them during conference breaks for attendees to take home as souvenirs!

Friday, August 3

Around lunchtime, our own Steve Ross will join Wayne Hoang from the Adobe Illustrator and InDesign team to give attendees a sneak peek at upcoming new type tool features.
Friday evening sees the return of the SOTA Spacebar and we’re happy to support this “a game, wrapped in a conversation, finished with a selfie” once again. Complete the challenge for fun prizes!

Saturday, August 4

Don’t stay in , grab some  and , and join us as Paul Hunt kicks off Saturday’s program with “Language, Culture, Emoji” at 9:30 a.m. 
Of course, most of our team will be attending all the sessions and events throughout the week, so look for us and say hello.

Yes, the green matches on purpose — thanks to Typekit alum Jason Santa Maria.

For the first time in hundreds of years, because of the web, the role of the typographer has changed. We no longer decide; we suggest. We no longer simply choose typefaces, font sizes, line spacing, and margins; we prepare and instruct text to make those choices for itself. In this book, Tim Brown illuminates the complex, beautiful world of typesetting—arguably the most important part of typography because it forms the backbone of the reading experience—and shows us how to parry the inevitable pressures that arise when we can no longer predict how, and where, our text will be read.

Grab a copy today, and keep up with Tim on Twitter, where he offers a few fun pairing suggestions for your next study session.