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  1. Today
  2. Riccardo Sartori

    answered David Jones Catalogue fonts

    Knockout and Berlingske Serif.
  3. Ralf Herrmann

    The Lost Art of Paste-Up

    Arranging and rearranging a magazine’s layout before it goes to press is all done on computers now. But in the years before desktop publishing software, the work of cutting and pasting required a sharp scalpel, a parallel-motion board and plenty of glue.
  4. Ralf Herrmann

    LC Gianluca by ctch foundry

  5. Ralf Herrmann

    Askan by Hoftype

  6. Yesterday
  7. Thank you so much; you're a life-saver. And I can't believe how quickly you found it!
  8. Last week
  9. That is a fair and good thing to do but I suspect not needed legally.
  10. Ralf Herrmann

    Olivetta by Los Andes

  11. Ralf Herrmann

    PF Marlet by Parachute Type Foundry

  12. Ahhhhh! I should have known that! I knew it was one I had seen/used before. Thanks, Les!
  13. I can confirm Blair Medium is correct.
  14. Ralf Herrmann

    Aligning type with other elements on the page

    That’s intentional. The cap height is mostly irrelevant visually. The x-height matters most next to the baseline. It’s not a perfect in that example, since I just threw that together in 5 minutes. You can easily make it an even better fit, e.g. by reducing the type height slightly in that example.
  15. Ralf Herrmann


    Quads are part of the spacing material for letterpress printing. The base size is the Em quad—spacing material in a quadratic shape with sides as long as the type size. Spacing material with the half width of an Em quad is called an En quad. Also in common use are larger quads like the 2-em quad and the 3-em quad.
  16. Probably custom(ised). Alternatives may include: Beaulieu; Legan; Beorcana Display; Aperto; Stellar (Classic); Brewery (No 2); Greenleaf; Aphasia.
  17. Hi guys, I'm looking for the typeface used in this screenshot. Please help...much appreciated! Cheers. Here's the link of this post>>> https://www.instagram.com/p/B3bOwWLHvxz/
  18. Earlier
  19. Apple is known for its closed ecosystem and font use is no exception. Until recently, there was no official way to install fonts on the mobile operating system of Apple devices. With iOS 13 and the new iPad OS, font installation on the system level is now officially supported. But you might have guessed it: you won’t be able to just use a mobile browser on your iPhone or iPad and download and install any font from the internet. Apple only lets apps install fonts on the system level. So foundries and other font providers need to create an app or embed this functionality into an existing one. We can expect implementations from companies like Adobe and Monotype soon, since Apple already announced a partnership during their keynote in June 2019. One of the first apps to support the new font installation feature is the Font Diner app. At this time, it only lets you install a bundle of fonts free for personal use, but it’s a good and easy way to try out the feature. The fonts can be directly included in the app package or downloaded in the background. Apple performs a validation of the fonts to make sure they are secure and functional. As you can see on the screenshot above, system-level font installation always requires user consent. Once the fonts are installed, you can get an overview of all custom fonts under Settings → General → Fonts. You can browse an alphabetic list of the fonts and see the styles, file size, copyright information and a font sample. You can also remove a font directly without having to access the app which installed it. Uninstalling a font installation app will also remove all fonts which came with the app. It is also worth mentioning that custom fonts being installed with this new method will not be available automatically in every app that uses system fonts. Apps need to opt in to use custom fonts. Going forward, most apps will likely do so, but you might need to wait for future updates of your favorite apps, before your custom fonts will appear as a choice in the font menu of certain apps. If you want to try out the feature, you can check out Pages, which already supports custom fonts. Custom fonts in the Pages app
  20. Ralf Herrmann

    Public Type Works

    “Public Type Works enables the creation of new open source fonts. If enough people show interest by chipping in with a small financial contribution (comparable to a cup of coffee/tea/whatever), we can bring these fonts to life.”
  21. Spot on! Thanks! :) Thanks! Will look into that! :)
  22. Oh! Ok. I thought there was a problem with the post. But, hey, thanks anyway! Best!
  23. Riccardo Sartori

    Simula by Sharp Type

  24. Ralf Herrmann

    Old Macintosh font?

    What are we seeing there? Is that an old print-out? It looks like an old 1980s raster image, either coming from a dot-matrix printer or a bitmap font on the computer. Both are fixed-size font display systems. In either case, that’s not really how fonts work anymore. It’s really hard to emulate this kind of output with a scalable outline font.
  25. hippiekasey

    answered Seventies Font (Zeta Tau Alpha Sticker)

    That is it! Thank you so much!
  26. Hello. I saw new Nancy Drew logo in teaser of Midnight in Salem (http://herinteractive.com/shop-games/33-nancy-drew-midnight-in-salem/) and I want to find that font. Can you help me?
  27. Ralf Herrmann

    Reviving a blackletter font from a museum’s archive

    The font in use in the printing museum Pavillon-Presse Many of today’s revivals of letterpress fonts are created from original type specimen prints. Scanning and digitizing the letterforms is easy to do, but it also has its limits. For one, the technique of letterpress printing doesn’t create an exact representation of the original face on the letterpress letters. The way the letters press into the paper makes the ink spread out. The outline of the letters gets larger and softer and the ink might even close gaps or create unwanted blobs. The smaller the type, the stronger the impact of those effects. Type designers of digital type always need to make a choice about how they want to deal with this. Do they want to keep those letterpress effects or do they try to guess the original design of the face on the letterpress letters? Original type specimen print And there is another problem when typefaces are digitized from printed type specimens: The prints don’t reveal the actual size of the letters, so setting the sidebearings of each letter is usually guesswork. But with access to the original font, there was a way to overcome this problem. Not by trying to measure the tiny distances with a ruler, but by revealing them in a print. So the alphabet was set in a way, where all letters are enclosed in brass borders. Things got a little bit more complicated than originally expected—as you can see in the picture above. Some letters had overhanging parts (a.k.a. “kerns”), so a full brass line in the type size pressed against the letters would have easily broken off the kerns. So a matching combination of brass rules and spacing material was used for certain letters. But in the end, this process proved to be successful. From the print of this form specifically made for digitization, vectorizing the font using the original metrics was rather easy. The design was carefully digitized and extended to a complete Latin 1 character set. The font is called “Pavillon Gotisch” after the museum. Version A contains the original design with all the ligatures and swash characters, which can be accessed easily through OpenType. A second style (“B”) was added, which contains romanized letter variations, so the font can be more legible for people not trained in reading German blackletter texts. The fonts cannot be licensed directly. They are exclusively available to supporters of the museum or the Schriftkontor community websites Typography.Guru and Typografie.info. You can become a Typography.Guru now and get instant access to Pavillon Gotisch A and B with a full desktop license for up to 5 users. About becoming a patron
  28. Riccardo Sartori

    answered A serif font from a biographical video (CHANEL N°5)

    Very short descenders can also be found in the typefaces designed by Frederic W. Goudy.
  29. Ralf Herrmann

    Radiata by Untype

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