Monthly Archives: October 2013

Halloween at FontShop San Francisco


Happy Halloween from the team at FontShop San Francisco!

Although our costumes aren’t typographic in nature, we thought we’d recommend a couple of designs that match our individual styles today.

Meghan’s PUNKin outfit pairs well with anything from our Distressed or Industrial & Urban Decay FontLists.

FF Manga matches Theresa’s anime-inspired outfit perfectly.

David’s sailor costume will get you through these waterlogged fonts.

Finally, Molly feels the Spooky family best sums up her look today.

What typeface best captures your spirit today? Tell us in the comments.

Colvert and MVB Solitaire

Today we look at Jonathan Perez’s Colvert with Mark van Bronkhorst’s MVB Solitaire. I guess I should also mention Natalia Chuvatin, Kristyan Sarkis, and Irene Vlachou; Colvert covers four scripts — Latin, Arabic, Cyrillic & Greek — each drawn natively, though we’ll look most closely at the Latin.

Colvert-and-MVB-Solitaire-1 Colvert-and-MVB-Solitaire-2

Colvert’s rich, French Renaissance texture is unmistakeable. In creating this work Perez updates the tone, leaving behind something fresh and familiar. Solitaire achieves a sophisticated humanist feel both thanks to and in spite of its wholehearted pursuit of generality. Together, the two create a versatile partnership with a feel that covers the spectrum between the ancient and contemporary.

Colvert-and-MVB-Solitaire-3 Colvert-and-MVB-Solitaire-4

Colvert’s bold has a nice bite to it.

Adding to its versatility is the fact that in this pair, either typeface is quite proficient at setting text.
Colvert-and-MVB-Solitaire-7 Colvert-and-MVB-Solitaire-8
Colvert-and-MVB-Solitaire-6That’s it. Great Pairs continues here Wednesday.

New Fonts This Week

Magallanes Condensed by LatinotypeMagallanes Condensed
Marianina FY by FONTYOUMarianina
MJ Ngai by LinotypeMJ Ngai
Cruz Script by Cruz Fonts
Cruz Script
Xenois Sans, Xenois Semi, and Xenois Serif by LinotypeXenois
Urtext Leipzig 1770 by Urtext Music FontsUrtext Leipzig 1770
Urtext Leipzig 1803 by Urtext Music FontsUrtext Leipzig 1803
Booster FY by FONTYOUBooster
Gauthier FY by FONTYOUGauthier
Excritura by LinotypeExcritura
Akhbar by LinotypeAkhbar
Fruitygreen by LinotypeFruitygreen
Meroe by LinotypeMeroe
Beaurencourt FY by FONTYOU

Continuing Promotions

MVB Solitaire by MvB Fonts20% off until 5 November

In a Jar by Latinotype $39 until 13 November

Magallanes Condensed by Latinotype80% off until 20 November

Blok, Scissorgirl, Ebu Script, and Surreal Post Indian by Type-Ø-Tones20% off until 30 November

Essential Pragmata Bold Pro by Schiavi DesignNow $49 (desktop) and $47 (webfont)

Kyrial Sans Pro Regular by MostardesignFREE

Buyer’s Guide: Bold Monday EULA

BMCreated in 2008 by Paul van der Laan and Pieter van Rosmalen, Bold Monday is the typographical equivalent of a so called “indie” record company. Families like Mancula, Pinup, and Panno are examples of the diverse collection where the fonts reflects the personal fascinations of the designers.

Here are some highlights from their EULA.

Basic EULA Rights

  • Desktop use supports up to 5 computer at a single geographic location.
  • You can create a secured non-editable PDF for non-commercial use.


  • You cannot share the font with users that do not have a license for the same font.
  • You cannot embed the font into a Website or Application.

See Bold Monday EULA

If you have additional questions you can always email FontShop’s Support Team for help.

EULA highlights will be posted every other Monday. Next up is Three Islands Press.

Pinterested: Amplified

Pinterested: Amplified

It’s time to get amplified! We’ve got a board filled with endless ampersand fun. Who knew you could bake them too?!

Understanding Responsive Typography

Forget what I said last time. Opening my mind to all the ways I can think up for how responsive type can work has generated a great delay in me actually coming up with a coherent message on how it’s done. The fact is — even if we limit the scope of our interest to technologies that are currently accessible and mainstream — we still live well under our privilege when it comes to what’s possible with responsive typography. So rather than a show and tell, where I say ‘here’s how it’s done,’ I’m instead focusing on pushing the boundaries of what’s considered responsive design just a little, and giving a few pointers along the way.


What responsive design means now

To most in the field, responsive design means controlling the presentation of a webpage through some carefully written CSS that checks the minimum width of the viewport and rearranges the layout, reflowing the copy and bumping the size of the text up or down accordingly. Often the design transforms along a small set of three or four base layouts, separated by discrete breakpoints.

What responsive design can become

Oliver Reichenstein touched on this in a talk he gave at TYPO San Francisco. He was discussing how for his app, Ai Writer, Nitti Light worked perfectly; but after Apple introduced its higher resolution Retina display, the type was all wrong. Something had changed. It was lighter, but it had also subtly lost its character in the new environment. This problem is something that can be helped by responsive typography. And this is a good starting point, but really only one avenue to explore among the many I alone see. Here’s how I break it down: There are conditions that can be measured, and there are responses that the design can make. And there’s a step in between that deals with how capable and trustworthy the data that measures the conditions is, and how reliably an appropriate response can be formulated and made.

Conditions that may elicit one or more appropriate responses

Size of output, intended purpose of the design, number of persons viewing the content, one Nick Sherman pointed out that I mentioned last week: distance from eyes to the reading surface, are all huge factors in how best to show content. Also, things like facial expressions, or the part of the screen on which the the viewer’s eyes are focused may be particularly useful. If projected, the position, color, texture, and motion of the object(s) onto which the content is projected could open interesting possibilities. Back closer to the here and now, things like region, location, position in space, current speed/momentum, ambient light (value and color temperature) and proximity to other devices are additional conditions to consider.

Ways the typography may respond

The obvious ones are things like font size, length of measure, line height, margins, etc.. Others within present reach are the font’s weight, color, style or family. And just outside of easy reach are movement, perspective, and direct manipulation of a font’s masters, (meaning that the type would respond fluidly across changes in weight, width, or any other arbitrarily defined axis, such as serious to playful, futurist to humanist, Persian to Arabic).

Just to conclude these thoughts for now, I know we’ve taken a hard road to get where we are with webfonts actually working as well as they do, but I wonder if it isn’t time to move on. I hope we don’t get too comfortable with type and typography in its present form.

Using Type will pick this back up on Thursday. Thanks Telefon from Monokrom for setting the title.

Why yes, we are wearing something different!


We’re taking fall fashion seriously in our San Francisco office. Today we launched a little makeover to the homepage. We hope this new look will better help you in finding the great fonts you love, discovering new typographic gems and accessing all of our design resources with fewer clicks. What do you think of our new page? Before and after shots below.

Our new look:



The “Before” shot:



Please note the changes are not visible in all FontShop territories yet. We’d love your feedback on what you’d like to see.


FF Ernestine and Directors Gothic

Today we look at something a little less conventional: Nina Stössinger’s FF Ernestine paired with Neil Summerour’s redrawing of the Lettering Inc. series, Directors Gothic.

FF-Ernestine-and-Directors-Gothic-1 FF-Ernestine-and-Directors-Gothic-2
FF Ernestine’s delicate finish and casual, wide stance are accentuated by Directors Gothic’s plain (and compact) nature. The American sans captures a classic ad-lettering style, with tightly controlled strokes, and a subtle human touch. The face comes in an astonishing 90 styles, each of the five sets growing incrementally wider, by the numbers.
FF-Ernestine-and-Directors-Gothic-3 FF-Ernestine-and-Directors-Gothic-4 Placed in proximity to the spare all-caps line of Directors Gothic, FF Ernestine’s texture is nothing short of luxurious.

That’s it. Great Pairs continues here Wednesday.

Buyer’s Guide: Choosing a desktop format

Surprise! It’s a Buyer’s Guide on Tuesday and we’re here to help you choose the correct desktop format for the programs you use. Format_MattersMany foundries give you the choice between formats and you’ll want to keep in mind the programs that you will be using the fonts in daily.

OpenType (.otf) fonts typically have additional features that can only be accessed by programs that support them. OpenType works best in software like Adobe® Illustrator® and Adobe® InDesign®.

Although Microsoft Word 2010 supports some OpenType features, not all characters can be accessed if the font has a massive amount of alternates. For example, trying to access all the alternate swashes in Feel Script in PowerPoint would be painful. Don’t do it.

Also, you’ll only be disappointed further because OpenType fonts don’t embed well in PowerPoint.

Buyer’s Guide will resume at its normal schedule next week.

Pinterested: Mugshot


Need a little pick-me-up? Check out our Mugshot board to get a little pep in your step with these coffee influenced fonts at FontShop!

Responsive Typography

Responsive typography extends naturally from the idea of responsive design, a term first appropriated to the field of graphic design by Ethan Marcotte, which he took from his observations in a different field, responsive architecture. The main idea is simple: a single webpage being displayed on multiple devices, each with a different-sized viewport, must adapt to function in its different environments. The previous answer to the question was to maintain a separate mobile friendly site, possibly further distinguishing it with a .mobi domain. (I can’t think of anyone offhand who presently does this.)

Picture 1

The current method uses CSS media queries to get a sense for how large a screen the site visitor is seeing. If it’s large, the code styles the page to show everything you’d expect browsing the web with a desktop computer. If it’s small, the styling changes the body text to take up the full column and sizes it to be readable on the small screen. It likely also pares back the user interface to its essential or most useful elements given the context.

Picture 2

Such a set of media queries only takes into account the size (and perhaps tangentially, the resolution or orientation) of the screen, but as new thought on the subject is pointing out, there are a number of other factors to which screen media can and indeed ought to respond. Nick Sherman gave one example, the distance from the reader’s face to the reading surface, in a talk last week at ATypI. The proof of concept was done by Marko Dugonjić. Also, the way a layout or composition responds to its environment or viewing conditions is something still completely underexplored.

We’ll pick up this discussion next week, and I’ll get a into the practice of how responsive typography is done. That’s it for now. Using Type continues here Thursday. Thanks to Alda for setting the title.

Alda and Flex

Today we look at Berton Hasebe’s Alda with Paul van der Laan’s Flex.

Alda’s an unconventional family in that it varies in hardness along its weight axis. This is most visible in its italic, which ranges from a soft, smooth texture to one much more rough-hewn. Flex’s strong, even, humanist feel accentuates the range Alda demonstrates and allows its forms to take the primary position of interest.
Alda-and-Flex-2 Alda-and-Flex-3 Alda-and-Flex-4 Alda-and-Flex-5Great Pairs continues here Wednesday.

FontBook Version 3.0.5

FontBook 3.0.5 for iPad and iPhone is now available in the App Store. The update is free for existing users.

New in Version 3.0.5:
  • Improved rendering of special characters
  • “Cancel Search” button added (iPhone only)
  • Support for iOS 7
  • Minor bug fixes
  • New app icon


New Fonts This Week

Desire by Borges Lettering


Carisma Gothic by CastleType


P22 Lucilee by IHOF


In a Jar by Latinotype


Fuzzbox by Sideshow


Littleheads by Sideshow


Ramparts by Sideshow


Gabriel Bautista by Comicraft

Gabriel Bautista

Dan Panosian by Comicraft

Dan Panosian

Urban Barbarian by Comicraft

Urban Barbarian

Continuing Promotions

Metronic Slab Complete by Mostardesign Studio70% off until 22 October

Brownstone and Brownstone Slab by Sudtipos30% off until 27 October

MVB Solitaire by MvB Fonts20% off until 5 November

Blok, Scissorgirl, Ebu Script, and Surreal Post Indian by Type-Ø-Tones  — 20% off until 30 November

Buyer’s Guide: Webfont Licenses

Still confused about webfont licenses? Here are our top five Buyer’s Guides to common questions about webfonts on FontShop.

1. Self-Hosted vs. Hosted
Learn the difference between the two types of webfont hosting.

2. How webfonts are licensed.
Discover who should be licensed and how.

3. What formats are webfonts available in? 
With @font-face you can use various formats, but your license may only cover specific ones.

4. Can all webfonts sold on FontShop be linked to Typekit?
Tips on how to recognize webfonts that can be brought into a Typekit account.

5. Can I install EOT or WOFF on my computer?
Find out if you need a desktop license too!

As a bonus, check out out our education page where you can find tips on how to use type in print and on the web.

And if you have additional questions you can always email FontShop’s Support Team for help.