Monthly Archives: November 2011

Submit Your Best of Picks by Friday

Big thanks go out to everyone who has submitted your best of 2011 picks so far!

As you may recall, you had until November 30 (that’s today) to leave your picks on this blog post and 
be entered to win a copy of the FontBook for iPad.

Well, in the spirit of the holidays we’re giving you a couple of extra days. Please leave your comment on the original post by Friday, December 2 and next week we’ll pick our 10 faves. Feel free to get creative as to why you picked it.

Feel free to look back at our 2011 newsletters for a little extra inspiration. We look forward to seeing your picks!

New Fonts, November 2011

November’s brought us some great new fonts.  If you didn’t catch these in the newsletters, here’s a chance to see a few of the good ones.

Mic 32 New Rounded by Chris Dickinson of Moretype

Chris Dickson’s Mic 32 Rounded extends the family with a variant that’s slightly softer to the touch, in four weights, light to bold.

Burgues Script by Alejandro Paul of Sudtipos

Alejandro Paul expertly fits the penmanship of celebrated calligrapher Louis Madarasz into a working OpenType font. Naturally, Burgues comes replete with flourishes and alternates.

Dusty Circus by Nathan Williams of Baseline Fonts

Nathan Williams brings to life an old decorative woodtype style, scuffed and worn from playing the circuit. Dusty Circus is five fonts that stack up to create a rich texture in various colors.

FontShop Friday Five: Thankful

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.

Thankful for Type

While we enjoy our turkey hangovers in the US, here’s what we’re thankful for this year.

Thankful for Type History

David Sudweeks explores Pilgrim Type.

Thankful for 2011

Make sure to submit your picks for the Best of 2011 before the end of the month. You could win a free FontBook app for iPad!

Thankful for Award-Winning Typography

Last chance! Ends Wednesday! Use promo code Letter211 to save 10% off the Letter.2 winners on

Thankful for Good Design

Yves Peters publishes a new edition of Screen Fonts on the FontFeed this week.

Friday Five Fonts: Novel Mono Pro Extra Bold and Novel Mono Pro Extra Light Italic by Büro Dunst


It’s Thanksgiving today in the US, so while us FontShop SF folks are off stuffing ourselves with turkey we thought we’d share what in the type world our social media followers are thankful for this year.

Here’s some of what you shared:

  • “I am thankful for the invention of Futura STD. What a clean Sans Serif font :-)”
  • Franklin Gothic.”
  • Meta. It really does half of the job.”
  • Frutiger.”
  • “For @espiekermann, again and always.”
  • “I give typographic thanks for (slightly) better font-face rendering on IE this year.”
  • “I give typographic thanks for the promise of a new FUSE magazine this year.”
  • “The letter ‘g.'”
  • “Proper kerning.”

What are you thankful for today?

Pilgrim Type

With Thanksgiving fast approaching here in the New World, I decided to do a bit of research into a subject I knew little about: what types did the Pilgrims use? Right off, I’ve had to enlarge the definition of ‘use’ and perhaps also ‘pilgrim,’ since English America didn’t see its own printing press until several years after the famous November 1621 feast at Plymouth.

P22 Mayflower by Ted Staunton, published by Sherwood

The Pilgrims read from popular religious books such as the Bible and other slightly lesser-known Puritan works with titles like Observations Divine and Moral; Defense Propounded by the Synod of Dort. These tracts and books were published back in England using types we classify today as being Baroque, or Dutch Old Style.

It was nearly 20 years later when the first printing press of the English colonies was set up in Henry Dunster’s house, in 1638. Dunster would become the first president of Harvard University. The arrangements were made by Joseph Glover who selected a printer, a Mr. Day, and transported him and his family to Cambridge. The first job printed at the Cambridge Press was done on half a broadsheet, and was known as the Freeman’s Oath. No originals survive.

We should end here. Several printers arrived in America after the establishment of the Cambridge Press. William Bradford famously started the New York Gazette as an escape from the constraints on publishing in early Pennsylvania. Benjamin Franklin can receive some credit for popularizing the types of Caslon and Baskerville in America. Though since we don’t generally count earlier colonialists of the 18th century among the Pilgrims, these must wait their turn.

FontShop Friday Five: New, Improved & Impressive

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.

Improved Dingbats

Erler Dingbats get a facelift and you get them for free!

New Newsletter

November’s second issue came out this week. Chock full of new font goodness.

Improved Explanations

David Sudweeks explores the question, What is a Foundry?, while Theresa’s Tips explains other sites in the FontShop family tree.

New Staff Picks

Check out what we’re liking in November.

Impressive Trailer

The FontFeed highlights an impressive feat in kinetic typography.

Friday Five Fonts: Sketchwriter OT by Baseline Fonts and Abril Complete OT by TypeTogether

Staff Picks, November 2011

Since November is known for getting away from you before you know it, we decided to get our picks out while we could. Staff Picks for November are up.

Jacob picks Cooter Deuce by Silas Dilworth of TypeTrust

“Because the name.”

Mayene picks Monroe by Daniel Hernandez, published by Sudtipos

“Makes me want cookies and cupcakes every time I look at it … though, I don’t know if that’s really a good thing.”

Meghan picks Megaflakes by Nathan Williams, published by Baseline Fonts

“Megaflakes, since a) It’s as close as I want to get to snow this year and b) sometimes I feel like a Meg-A-Flake. Ba-dum-bum.”

To be clear, Meghan reliably rates between ‘very dependable’ and ‘unfailing’  on the office’s accredited flakiness scale.

Theresa’s Tips: Roll Call

You may be familiar with FontShop, but do you know about all the other sites that we’re connected with? If not, then here’s a brief introduction to them.

The FontFeed is a daily dispatch of recommended fonts, typography techniques, and inspirational examples of digital type at work in the real world. Eat up.

FontFont, our foundry, is the world’s largest library of original contemporary typefaces, such as FF DIN and FF Meta.

FontFonter is a web tool that allows you to render Web FontFonts on any website. Basically allowing you to test out a webfont on your site instantly, which is perfect when you want to show your client what their site could look like in a different typeface.

Subsetter is another great tool that helps you decrease the size of a Web FontFont. In three easy steps, you can optimize your Web FontFont at no cost to you. Read more here.

The latest addition is Mobile FontFonts and if you’re building an iOS App then you should start by checking these faces out.

Also, TYPO San Francisco will take place at Yerba Buena Center for the Arts (YBCA), April 5-6, 2012 centering around the theme Connect. So head on over to TYPO Talks for a taste of what to expect.

What is a Foundry?

Foundries make type. They can be large organizations or small, one or two-person operations. Historically, foundries turned out a physical product — metal type cast from a font of molten lead. These productions, however small in scale, necessitated the procurement of heavy, skilled labor. The masters who hand-cut the punches, down to those who kept the fires burning still got greasy every day. It was hard work. Up until the turn of the last century, the trade of type design kept its perception as blue collar. At foundries presently, there is little commotion compared to the hot metal days when you could tell a foundry worker by the smell. Gutenberg was the first, and while we haven’t seen the last, the trend has moved from physical to digital production. But the name ‘foundry’ persists.

Stephenson Blake Foundry, 1914

When I think of foundries today, I tend to think of people like Peter Bruhn, who spends his days drawing and fitting his letters, and checking his proofs, a little time tending to business on the phone or sending emails, but mostly, with the letters. Other designers can release their fonts through Peter’s foundry, but for now, it’s mostly him. Foundries can sell their types directly, or through distributors, who take a cut of the revenue to pay for promotion and operating costs.

Mayo by Peter Bruhn of Fountain

So what is FontShop?

FontShop is the first of the independent digital type retailers. Our aim from the beginning arose from the idea that great design is a valuable service to everyone. And since great typography is the core of great graphic design, we made it our purpose to improve design by making the best type available to designers everywhere. In the beginning this meant that we printed and sold big yellow books, and waited by the phone with price lists, ready to mail out diskettes, same-day. Now it means that we curate a collection of type online, and publish newsletters, blog posts, tweets and comments, produce and commission original artwork, and sponsor and host design conferences, and of course, reach out to new foundries.

What makes FontShop independent?

While we deal with hundreds of foundries, we don’t hold the intellectual property of any. Each foundry retains the rights of authorship for its original works and chooses which of its fonts to let us sell. We do our part to make and publish promotional material, help our customers choose the best type for a given project, and sell licenses to the fonts.

FontShop Friday Five: Inspire

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.

Inspiring April

TYPO Connect arrives in San Francisco this April. Register beginning December 1 for a conference that’s sure to inspire.

Inspiring Archives

Theresa’s Tips guides you through the archives on FontShop this week.

Inspiring Branding

David Sudweeks explains how to use typography across platforms to keep your brand consistent.

Inspiring Tunes

The latest installment of My Type of Musicis up on the Font Feed.

Inspiring Winners

Yves Peters takes us behind the ISTD International Typographic Awards 2011. Speaking of award winners, don’t forget you can save 10% off Letter.2 award winners on with promo code LETTER211 through November 30, 2011.

Friday Five Fonts: FF Strada by FontFont and Alwyn New Rounded by Moretype

Prana’s Push & Pull

Prana by Christoph Ulherr

Prana is a quirky monolinear slab in three weights from URW. Its design philosophy takes from both the geometric and humanistic slab traditions, and makes use of an abruptly terminating, long gestural curve as a device. From a distance, the face evokes the tight-but-not-touching ad typography of the 1970s, which can also be seen in faces like ITC Benguiat Gothic and most anything Herb Lubalin drew. The spacing is a bit tight and there’s no italic, so this one is recommended for display work only.

Great type in print, web & mobile: the 360° approach

Crafting a well-branded message takes great design, and great design takes great typography.

When webfonts began to receive broad support at the tail end of the past decade, a new internet appeared with it. Given the ability to specify font families on the web, designers embraced their new medium and began to work layouts from the typography out, rather than from the bounds of an arbitrary rectangle inward.

From the first release of Web FontFonts, FontShop has delivered a consistent experience with type optimized for screen readability with faces that also get great results in print. That same level of sophistication is now available for mobile apps.

Customers choose what feels right.

Giving consumers a familiar experience, one that they’ll return to, is best accomplished by making use of familiar elements, like a continuous visual vocabulary, palette, voice, and tone. Consistent typography is one of the best ways to unobtrusively remind the customer that it’s you with whom they choose to deal. When deploying across multiple media, choosing similar faces can be a challenge, but when one starts with mobile fonts, it need not be.

Print, type’s first love.

Working in print, the level of typographic control and comfort inherent in a fixed media size is one of most fulfilling aspects of the process. Handling print media is a physical, literal experience. It seems that nothing has yet rivaled print’s ability to at once disarm and stimulate original thought. All of the faces offered in both mobile & web formats originated as print designs, and offer the level of sophistication that typographers have learned to expect from great print faces.

Mobile FontFonts let you use the same face across platforms

With mobile fonts, we’ve given designers the ability to work across media and create a consistent experience whether online, in print, or in-app. Visit to see a selection of mobile font packages in faces that can also be licensed for web and print as well.

Wondering how to talk to your app developer about mobile fonts?

Sending them the Mobile FontFont use page is a good start. From there they can download sample code, get a few pointers from our app developers (the same ones who designed the FontBook app), and even test a full-featured mobile font.

The example faces used in this post are FF Duper and FF Clifford. FF Duper Mobile, FF Duper Web, FF Duper Pro; FF Clifford Mobile, FF Clifford Web, FF Clifford Pro

TYPO Comes to San Francisco in April 2012

We previously mentioned that TYPO, one of Europe’s most successful design conferences, will add an annual event in San Francisco. Well now we have dates!

TYPO San Francisco will take place at Yerba Buena Center for the Arts (YBCA), April 5-6, 2012 centering around the theme Connect.

We connect with the world every day. Good design makes this fun and easy, bad design ruins the experience. Being over connected can be fulfilling or overwhelming. Disconnecting can be a relief or isolating. And all of this is changing constantly with technology. TYPO San Francisco Connect brings together incredible speakers from both European and American design communities to share their work and insights on what it means to connect.

“Within 16 years we’ve developed TYPO to a path-breaking voice in the field of communication and design. The positive reception of TYPO London in October 2011 was the proof, that the international graphic design community wants that summit at additional design strongholds,” said Jürgen Siebert, Chairman, FontShop Germany. “We are thrilled to come to San Francisco.”

The two-day conference will feature a diverse array of creative and inspiring speakers across multiple industries in the Novellus Theater at YBCA. Erik Spiekermann and Kali Nikitas will facilitate in the main hall. The event will also feature typographic workshops and screenings at YBCA.

Registration will open December 1, 2011. An early bird phase with discounted tickets will run through December 31. Regularly priced tickets will be available January 1 through February 28, with late registration beginning March 1 up until the conference.

In the spirit of TYPO Berlin, a limited number of student tickets will also be available at a reduced rate.

More information, including registration and sponsorship information, is forthcoming at or follow us on Twitter @TYPOSF.

Theresa’s Tips: Finding Inspiration

If you’re like me and need a bit of inspiration to get your creativity going, then FontShop has great archives you should check out.

Our Gallery has a curated collection of typefaces being used in the real world and is categorized based on the type of projects those images fall into. For example, you can choose to view all the images for packaging if you wanted. You can even submit images to our gallery using the bookmarklet tool.

If you ever missed a newsletter from FontShop or accidentally deleted one you were saving, don’t fret! We’ve stored all of our previous FontShop Newsletters here. Sign up to receive them, if you haven’t already. You don’t want to miss our Best of 2011 (and don’t forget to submit your suggestions for the chance to win a FontBook app for iPad).

Our education page is a favorite resource for students and educators. It provides typographic tips available in PDFs that you can download for free, which is nice when you need to brush up on terms.

Hope you enjoy our archives. Are we missing anything that may be useful to you? Let us know in the comments.

FontShop Friday Five: New-vember

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 Font Review

Check out what typefaces came to the ’Shop in October.

New Newsletter

Big award news for FontFont in this week’s newsletter, as well as new fonts from Moretype and URW.

New Discount & Contest

Use promo code Letter211 to save 10% off the Letter.2 winners on Also, let us know your “Best of 2011” picks and be entered to win the FontBook app for iPad.

New Look for Category Page

We’ve made some changes to make it easier for you to navigate the thousands of fonts on the site. Browse fonts by Category.

New Gift Idea

Theresa’s Tips reviews giving typeface licenses for the holidays.
Friday Five Fonts: FF Legato by FontFont and Justus by URW

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