Posts Tagged ‘font creator’

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Issue by Web Fonts and Media Statement in Firefox

Monday, April 16th, 2012

If you load up some stylin’ web fonts on your server, call them in your style sheet inside of a media statement, and then view them in Chrome, Safari, or IE9, you’ll be pleased with the results. Instead of the usual system fonts, your page with be provided with the stunning new fonts you called. At present try it in Firefox.

The issue is with the use of equally the media declaration and the web fonts. Which media values cause a problem? Looks similar to all of them (all, screen, print, etc.). Eliminate the media declaration and your web pages will then show the fonts your designer specified:

@media all { /* Remove this media declaration and start brace */
     @font-face {
          font-family:”Frutiger”;
          src:url(“/fonts/frutiger.eot?iefix”) format(“eot”);
     }
     @font-face {
          font-family:”Frutiger”;
          src:url(“/fonts/frutiger.eot?iefix”);
          src:url(“/fonts/frutiger.woff”) format(“woff”),
               url(“/fonts/frutiger.ttf”) format(“truetype”),
               url(“/fonts/frutiger.svg#frutiger”) format(“svg”);
     }
} /* Remove this end brace */

If you need to keep your media declaration in your style sheet, then I propose that you just move all of your font-face calls to a new style sheet.

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21 Latest, Free Fonts for 2012

Friday, April 13th, 2012

Help your design feel fresh by using an attractive new font. There is always a steady brook of new, free fonts to choose from.

Here is a list of latest fonts. There are model and traditional fonts, as well as modern and inventive fonts. All of the fonts are free, while some accept donations. Check each font for profitable limitations.

Enthused by the proportions of the 16th President of the U.S., and advertisements and playbills of the 1800s, Abraham Lincoln is a humanistic display face with reasonable contrast and sturdy serifs. Accent is a sleek, fashionable typeface that is both bold and elegant. It is free display font intended by Nelson Balaban. Archive is contemporary font constructed with strong statistical forms. It is a multi-purpose typeface for several type of graphic design.

Arvil Sans has strong lines with curved, soft terminals, to produce a strong, yet friendly letterform. It is available in all caps with numerals, punctuation and as well a wide range of symbols. Bemio is an ultra-bold sans serif font with a widespread character set. It bridges the gap between old signage and craftsmanship with modern forms and minimalism.

New Fonts: Abraham Lincoln, Accent, Archive, Arvil Sans, Bemio, Bender, Blanch, Forum, FV Almelo, Hagin

Bender is an industrial enthused throwback. It has a stocky face for display type in two weights: inline and solid. Blanch was intended for the Fruita Blanch brand, a family-run company. It is conventional font with a contemporary feel. Forum is the Antiqua font with model proportions. It is proposed for titles and headlines, but can be used to set body texts too.

FV Almelo is an all-caps curved font. Because of its doze to the past, the font was named after the city where the designer was born. Hagin is constructed with muscular geometric forms. It is appropriate for a variety of uses, such as web, print, logos and more. Haymaker is a display typeface that’s both jagged and developed. Stimulated by the workmanship, lettering, and baseball jerseys of the 1930s and 40s.

Intro has a strapping structure, based on principles of simple geometric forms: triangles, circles and squares. Jura is a stylish serif typeface of narrow proportions with distinguishing details. The rounded, wedge shaped serifs offer a more modern feel than many serif fonts, while maintaining legibility even at small sizes.

New Fonts: Haymaker, Intro, Jura, Ledger Regular, Meander, Metropolis, Noticia Text, Prosto, Rex, Static, Sullivan.

Ledger Regular is a versatile typeface. The letterforms are famed by a large x-height and sufficient stroke contrast. It’s appropriate for use in corporate, advertising and display typography. Meander is a free typeface creating a freestyle twisting and intertwining style. It is a curly, twirly, swirly font for an instructive effect. Prepared by doodling with felt pens, this font is best used at larger sizes.

Metropolis comes from the developed movement of the 1920s where skyscrapers where born. An Art Deco style font, it is a bold typeface with a quiet outlook. Noticia Text is a modern slab serif, which comes in four styles. It is a conventional typeface with a sculpted contemporary feel. Prosto is a clean contemporary font to use in titles or in body text.

Rex is intended to create unique titles on the fly. It’s an all caps font, but there is a variation between caps and small caps. Static is a smooth, fashionable font in a monospaced style, designed by Slava Kirilenko. It contains basic Latin letters and is obtainable in Open Type for PC and Mac. Sullivan is a bold display face that comes in three differences. Each can be used efficiently on its own or layered for a uniquely modern, industrial effect.

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Instructions for Multilingual Desktop Publishing

Wednesday, April 11th, 2012

Publishing in some different languages is always challenging. Luckily, there are a range of translation service providers with Desktop Publishing (DTP) on offer to ensure the entire process goes slickly.

The language translation itself to feel about, but also the desktop publishing issues that come with an international project, such as cultural concerns, formatting, and budgeting and project management. To help content owners and publishers start on the right path, there are numerous guidelines they should take into account when embarking upon a multilingual project – with particular emphasis on desktop publishing issues.

Images:

must be kept to a minimum when publishing material that is to be translated into several languages. Best practice in this situation is to keep the design simple, as too many complicated design features may slow the process down and take up valuable storage or memory space. Images can be exceptionally large files, which can take a long time to electronically transfer during the DTP process.

Design:

When designing a project that is intended for multilingual DTP translation, it’s worth bearing in mind that some foreign languages can take up as much as 30 percent more space than English. Therefore, it’s wise to leave a fair amount of white space to evade forcing the DTP professionals to shrink the font size or rearrange the design too heavily. If images, large sections of text and other content need to be entirely repositioned the project may take longer and cost more.

Fonts:

when selecting fonts, try to find ones that can be used for all the different languages the document will be translated to. Open Type fonts are useful because they can be used on a Mac or a PC – whereas, some PC fonts will not be like-minded with Macs or vice versa.

Cultural Issues:

It is perhaps one of the most difficult aspects of translation. It is as well one that publishers may not automatically consider as being important. However, it’s vital that you think about images, symbols, gestures and even the colors you use to make sure they will not be deemed wrong or offensive to any of your global readers.

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The Covert to Designing a Great Smartphone Font

Monday, April 9th, 2012

In the second section of our two-part series, we discover the history and theory behind mobile phone fonts with the help of typeface designer Steve Matteson.

What makes a great font for a Smartphone? Aside from legibility, is it its simplicity, its brand identification, or the way it influences people’s feelings toward the product? From neutral and casual, to just plain wrong, we sit down with Steve Matteson, typeface designer extraordinaire, to get the lowdown on the typefaces featured in Windows Phone, Android, and iOS devices.

Segoe for Windows Phone: The beauty in neutrality

Before Matteson, present creative director at Monotype Imaging, designed the typefaces featured on Android and Windows Phone devices, he created the aggressive lettering for Microsoft’s Xbox, and its successor, the more approachable and sleek Xbox 360.

Remembering the effort that Matteson did for its consoles, Microsoft approached him once again in 2003 to solve a problem. It was looking for an overall typeface for its brand, but the intend Microsoft was currently considering was too geometric and mechanical.

The Droid family for Android: Just the right quantity of playfulness

When Google silently bought Android in 2005; the tech industry was buzzing over the opportunity that the search giant had plans to dive into the mobile phone business. At the time, Matteson was working for a typeface corporation he helped start called Ascender. His team was excited about the new merger, and pitched five designs to the User Experience department at Android. The group told Matteson that they wanted to retain the playfulness after the Google brand voice.

Helvetica for iOS: A model, but is it right?

There is no denying the company of Helvetica. It’s been around since the late 1950s when it was created by a pair of Swiss designers and has gained an almost exponential surge of fame recently. On its fiftieth anniversary in 2007, a documentary was released about it and the MOMA in New York had and demonstrate celebrating 50 years of Helvetica.

It’s the New York Subway system’s font of choice; you see it when you fill out your centralized income tax forms; and most pertinently, it’s the font used in iPhone’s iOS.

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