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Get a Font Pack for your next project

Tue, 05/15/2018 - 2:55am

Every Creative Cloud subscription comes with access to thousands of the world’s best fonts. Now, we’re making it easier to get them into your projects with Font Packs.

Font Packs are collections of fonts for things like résumés, invitations, and social stories — and you can get these fonts with a single click.

Each Font Pack includes a variety of options to help you explore different creative directions and try out font combinations. Each collection also shows examples of the fonts in use, and we’ve made those files available for download so you can immediately try your own text in Illustrator (or in XD, if you’re working with the UX Font Pack) without starting from scratch.

Today, we’re happy to announce our first six Font Packs:

  • The Typography Welcome Pack, 25 fonts to get a taste for what the Typekit library has to offer (and make your work look awesome in the meantime).
  • UX Font Pack of screen-friendly fonts for UX design and prototypes, available even without a paid subscription plan
  • Résumé Fonts for a clean, professional look on CVs, cover letters, and even business cards
  • Get Folks Together with 12 fonts to make winning posters for promoting local events
  • Market It! Fonts for social shares
  • Grad Announcement Font Pack, perfect for making a quick invite or announcement card

There are six more Font Packs on the way, and we’ll release one each Tuesday for the next few weeks. Keep an eye on the growing collection!

Once you sync these fonts, they’ll show up in the font menu of all your desktop applications. (Yes, all — not just Adobe apps.) They can be used in print, on the web, and for your clients’ designs. They all share the same simple licensing agreement, so you never have to worry about where or how you can use the fonts.

We’re planning even more beyond this, so if you’d like to see us focus on any particular kind of theme or design project in future Font Packs, please let us know.

Fonts for your finals: New on Typekit for May

Fri, 04/27/2018 - 12:30pm

It’s hard to believe we’re already at the end of April — but here we are, and we’ve got more new type in the library to share with you. Have a look at what we’ve added this past month and a few other things that we’ve had going on.

Jamie Clarke Type

Rig Solid from Jamie Clarke Type

We love the bold, fresh type from designer Jamie Clarke, full of energy and fantastic for display. His Rig Shaded recently won the Platinum award in the Graphis competition for typography. Rig Shaded and its sibling Rig Solid are both available in a stunning variety of styles that can be layered on top of one another for shadow effects, outlines, gradients, and more.

Brim Narrow

Brim Narrow offers a similar variety of layering options but with a decidedly different style featuring stately serifs. Use Brim Narrow Combined for simplicity if you’re working with just one color or want the fonts on your website (although it is possible to combine layers using CSS!).

Production Type

Countach from Production Type

We added several Production Type families from Jean-Baptiste Levée and his team to our subscription library. Countach is one of these — originally designed for a car racing game, with an emphatic italic style that exhibits a clear velocity and an extended character set including a well-rounded Cyrillic.

Panorama Extended (left) and Semicondensed (right)

Once in a while a type family just keeps growing and growing over the years, and Production Type’s Panorama collection is such an example. Six widths and eight weights, plus italics, make for a whopping 96 font styles for this family. The variety makes this an especially adaptable choice for all manner of projects. We’ve added the whole shebang to our Marketplace: Panorama Regular as well as Semi Condensed, Condensed, Extra Condensed, Extended, and Extra Extended.

See everything from Production Type on their foundry page.

New from Device Fonts

Urbane Rounded from Device Fonts

Urbane Rounded comes to us from Rian Hughes of Device Fonts. It’s a cheerful rounded sans with seven weights, and will easily lighten the mood where it’s used — the heaviest weight in particular is nearly balloon-like, in the best way possible. Use the lighter weights where more subtlety is needed, like in site navigation or smaller text.

Rogue Serif

Rogue Serif has a hearty personality like many slab serifs, perhaps with a slight edginess from the sharply-carved sides and terminals. If you’re going with a lighter weight it’s perfectly lovely for body text, but less is more when it comes to the heavier weights — size it up, trim your copy, and give the letters plenty of space to shine.

There’s more from Device this month, too; have a look over on the foundry page for the full collection.

Adobe Type news

Taro Yamamoto accepting the Keinosuke Sato award (left) and joining a panel discussion with fellow winner Akira Kobayashi and moderator Kiyonori Muroga.

The Japan Typography Association selected Adobe as the 2017 company winner of the Keinosuke Sato award, which is given to a selected company and individual each year for meaningful contributions to Japanese typography. Taro Yamamoto accepted the award on behalf of Adobe Type on April 20 in Tokyo.

We also celebrated the first anniversary since Source Han Serif‘s release, and added Ten Mincho to our free tier. Oh, and how was your Font Day this year?

Conference season ramping up

It’s getting to be that time of the year when everyone seems to be traveling. In case you missed our speaking event roundup earlier in the spring, here’s a few upcoming highlights:

  • Dan Rhatigan presents at HOW Design Live on May 2
  • Computer Scientist Persa Zula will speak at !!Con in New York on May 12
  • There’s still time to register for the 2018 Ampersand Conference in Brighton! Dan will be speaking there, too. (PS: Use code ADOBE10 when you register for 10% off the ticket price.)

Updates to CC Libraries bring type to more places

Thu, 04/26/2018 - 10:39am

When CC Libraries makes an update that loops fonts into more products, we’re thrilled! Bridging apps and devices alike, CC Libraries plays a fundamental role connecting Adobe applications with one another so your best ideas and creative assets are where you need them, when you need them.

Today’s update works in tandem with Adobe Capture, a mobile app that helps you turn creative inspiration from the world around you into patterns, vector shapes, 3D materials, color themes, brushes, and type that you can then go on to use in your projects.

The technology for Type Capture is shared with the visual search feature we released last autumn. With this update, your typographic options now include fonts available for purchase from Typekit Marketplace (as well as everything in our subscription library).

Starting in Adobe Capture, snap a photo of type and the app will identify similar fonts from Typekit. Choose your favorite and save it as a character style.

How this works

When you see type you like (say, on an eye-catching poster you pass every day), use Capture to snap a photo of it. The Capture app finds similar fonts from Typekit, and you can save your favourites as CC Libraries character styles. If there’s already a Library going for the project you’re working on — maybe you’ve been searching for logo ideas for a new website, for example — go ahead and save it there.

When you’re ready to begin working with the fonts you’ve found, make sure you’re signed in to the CC desktop app so that we can send them your way. Whether you’re working in InDesign, Illustrator, Photoshop, or another design application that displays the CC Libraries panel, fonts from our subscription library will sync automatically at this point.

Want a quick walkthrough? See the Capture tutorial for a one-minute look at how it all comes together.

Purchasing fonts: The new (in-app!) way

For any fonts from Typekit Marketplace, you’ll see this nifty new window to authorize and process a purchase in-app.

When you’re ready to work with the text in your design, the character styles you’ve saved will be in the CC Libraries panel. Fonts requiring a Typekit Marketplace purchase will use the credit card info you have on file; simply approve the purchase from within the app.

If this is your first purchase, we’ll bring you to a secure browser window to enter your credit card information. That’s the one time we’ll interrupt you; after that, we’ll keep the card information on file so you’ll be able to authorize future font purchases without leaving the app you’re in.

Fonts you purchase on Marketplace are synced through the CC desktop app and can be used in any application. You won’t need to install anything via font management software. Just keep the CC desktop app running and it’s smooth sailing from there.

Any questions? Drop a comment here, or send an email to our awesome support team, and we’ll be happy to help you out.

A classic for 30 years, updated: Introducing Minion 3

Wed, 04/18/2018 - 5:50am

Adobe Originals has just released Minion 3, a significantly expanded update to one of Robert Slimbach’s most celebrated typefaces.

Originally released in 1987, Minion was one of the first typefaces Slimbach worked on at Adobe and was quickly acclaimed by typographers and book designers for the deep attention paid to typographic detail. That intense focus on detail hasn’t changed with Minion 3: this version introduces new scripts, expands Latin coverage for African languages and IPA (International Phonetic Alphabet), and includes optical sizes.

Make subtle (or drastic!) changes to type specimen size and weight in the live preview, and flip between different scripts to explore the full range of Minion 3 on the exhaustively detailed website.

We worked with designer (and Typekit alumnus) Elliot Jay Stocks to build a website that would do justice to this typeface. The website team worked hard on an interactive type sample page where you can swap scripts and adjust sizing and weights to see the full range of the typeface. Minion’s 30-year history gets a complete study from type historian John Berry, delving deep into the details that make Minion what it is today.

As you explore the website, don’t miss the one-of-a-kind interview between Robert Slimbach and renowned typographer Robert Bringhurst. The transcript is the result of hours of conversation in August 2016 at Adobe headquarters in San Jose, and a rare opportunity to learn from both great minds.

We’re offering all weights of Minion 3 for web and sync on Typekit, along with the Display, Caption, and Subhead styles, and you can buy perpetual licenses for any of these fonts from Fontspring.

Catch these Typekit speakers this spring

Tue, 04/10/2018 - 7:15am

It’s been a busy year for the Typekit team, with several folks giving presentations around the world — starting this very week.

Dan Rhatigan (Senior Manager, Adobe Type) is giving two workshops at the -ing Creative Festival in Dubai. Dan will teach Building Words Like Pictures on Wednesday, followed by Type Reconstruction on Thursday.

Hopping over to Japan, Taro Yamamoto (Senior Manager, Font Development) will participate in the Tokyo Cross Talk Show Panel on April 20, with several other typographic luminaries. At this event, Taro will accept an award from the Japan Typography Association.

Stateside, in May, head to Boston, where Dan Rhatigan presents Your Type; Your Text at HOW Design Live on May 2. Later in the month, Persa Zula (Computer Scientist) speaks at !!Con in New York telling Tales of ?! Can You Tell Your Story When Your Character Is Undefined?!

Wrapping up the spring, Dan heads over to the UK, where he’ll speak at the 2018 Ampersand Conference in Brighton.

Want a Typekit team member to speak at your event? Feel free to reach out in the comments!

Happy Font Day, Japan! Source Han Serif turns 1, and more

Tue, 04/10/2018 - 4:18am

When we released Source Han Serif this time last year, we knew the news would be of interest in Japan, but we never expected an official holiday would emerge. April 10 is now formally registered as Font Day in Japan, and our colleagues there haven’t missed the chance to celebrate its second year.

Celebrating one year of Source Han Serif

One year since its launch, Source Han Serif has proven to be hugely popular — a typeface suitable for editorial use, with seven different weights for variety, and with an immense number of glyphs to support Chinese Simplified and Traditional, Korean, and Japanese languages (including region-specific glyphs). Ryoko Nishizuka was the principal type designer for the project, and it was an enormous collaborative effort with designers from the other foundries involved as well.

Don’t miss our walkthrough of the Source Han Serif website itself, designed by Wenting Zhang — it’s full of neat details that illustrate the potential for a Pan-CJK typeface like this one.

Ten Mincho is in our free tier

Also from Ryoko, Adobe Originals released Ten Mincho last autumn, a delightful serif typeface for Japanese (and, with Ten Oldstyle from Robert Slimbach included in the typeface, also can be used for languages using Latin characters). We’ve just added it to the free tier in our library, so you can use it without a paid Creative Cloud subscription — though you’ll still need to log in with an Adobe ID to sync it to your desktop.

Font Day in Tokyo

Our colleagues in the Adobe Japan office organized Font Day events at the Yahoo! Lodge in Kioicho, Tokyo. Ryoko Nishizuka was among the participants for a “Meet the Typeface Designers” panel, which addressed the realities of type design and what the day-to-day of the job looks like.

A second panel comprising Japanese UX, web, and graphic designers discussed general themes around typography and using digital fonts; Taro Yamamoto joined this discussion. And for a lighthearted finale, Masataka Hattori from our Type team in Japan hosted a “Font Finding Quiz” along with a few type experts.

All of the “Meet the Typeface Designers” panel participants represented foundries with typefaces available on Typekit — a great chance to get to know them if you aren’t already familiar! Apart from Adobe, look for Japanese type from Morisawa, TypeBank, Dai Nippon Printing, Fontworks, Jiyukobo, and Visual Design Laboratory.

Further reading: Two different takes on Japanese type at Adobe

Bryan Lamkin (EVP and GM of Digital Media at Adobe) offers his reflection on the Japanese type offerings from Adobe in this blog post. It’s definitely an exciting time to be working with type, and we love his enthusiasm for it!

The people who have been in the type industry for 20 or 30 years have seen some remarkable transitions in design technology, and we’re fortunate enough to have several of those people on our team here — including Taro Yamamoto, Senior Manager of Type Development on the Adobe Type team in Japan. His newly-published article, “Thirty Years of Japanese font development at Adobe,” is featured on Adobe Japan’s Creative Station blog in two parts. (For the English translations, see Part I and Part II here.)

Maybe we should make Font Day an international holiday next year and expand it to the United States? Happy Font Day to you and yours!

New on Typekit: Fresh faces for spring 2018

Fri, 03/30/2018 - 7:47am

It’s been a whirlwind month! We’ve added new foundry partners we’re excited to share with you, boosted our offering for folks on free plans, and there’s more than ever to explore in our Marketplace.

No matter what plan you’re on, there’s something for you in this month’s roundup of new type.

New in the Marketplace

Gretel Script is a three-style type family packed with potential — thanks especially to the caps style, which is ideal for working in text that needs to be a little more clear without being a harsh departure from the lively flow of the Grande and Piccolo styles. Designed by Michael Hochleitner, Christoph Schütz, Simon Liesinger, and Franziska Weitgruber from Typejockeys, Gretel is based on the calligraphy of Natascha Safarik.

You’ll also find more new type from Typejockeys in the subscription library: Freude, Henriette Regular and Compressed, and Ingeborg Block and Striped.

Two new foundries are joining our library from Type Network, and you’ll find sixteen additional families from Type Network foundries in Marketplace this month. Guyot is the newest release from Retype, a small foundry established in 2007 by Ramiro Espinoza and Paula Mastrangelo in The Hague, Netherlands. In designing Guyot, Espinoza took inspiration from typefaces attributed to French punchcutter François Guyot, who worked in the early 16th century. Medusa, also by Espinoza, is a fantastic sprawling script intended to embrace the wild ornamentation of formal English handwriting as it was practiced in the mid-19th century.

Ivy Foundry‘s Jan Maack designed Swing King in collaboration with Danish illustrator Erik Sørensen, and the typeface includes unique signs and symbols that accentuate the lighthearted feel of the sans-serif. If that’s a little more freewheeling than you need, Ivy Style Sans is a bit more subdued — and also check out Ivy Style TW for a unique “typewriter” style that feels great to write in.

Other Type Network partners with new offerings in the Marketplace this month include Lipton Letter Design, Newlyn, and TYPETR.

New in the subscription library

We’re delighted to welcome Debi Sementelli to Typekit this month, whose playful style shines through in each of the three script families she’s added to our subscription library. Dom Loves Mary is a neat one to try out when you’re aiming for an elegant look, as it comes with an all-caps text style that can thoughtfully balance the script when used in combination.

Designer Ryoichi Tsunekawa added 31 of his Dharma Type families to our library earlier in March, which is a lot of fonts seeing as most families include multiple styles (Rama Slab includes 18!).

Piepie was an immediate hit on the team; we even worked it into an Instagram compilation on Pi Day. You may recognize Bebas Neue from the Dharma Type collection as well — it’s a popular standby for clean, bold headings.

Designed by Morten Rostgaard Olsen, København from Fontpartners takes inspiration from the Danish capital city — particularly in the Pictos style featuring arrows, ornaments, and several landmarks. We’ve added København Sans, Stencil, and Sans Stencil too — a total of 20 styles altogether.

Brian Willson at Three Islands Press specializes in historic type that seems especially well-suited for antique maps and correspondence. The aptly-named Geographica is modeled after the handwriting of an 18th-century cartographer. It includes plenty of cartographic ornaments, too! All styles are available for purchase in Marketplace, and we’ve added the Regular, Italic, and Hand Regular styles to the subscription library. Look for Professor and Viktorie in the library, too.

New for all plans

We’ve added around 150 open-source fonts from Google to our Limited Library, including popular picks like Oswald and, for Devanagari support, Kadwa.

And for even more global script support, we’ve added 12 fonts from 9 different families from Swathanthra Malayalam Computing — a huge boost for Malayalam support on Typekit.

So many! But which fonts do I have access to?

Not sure what plan you’re on? The fastest way to check is to visit your Account page on Typekit when you’re logged in with your Adobe ID (the same one you use for your Creative Cloud sign-in).

When you visit the Browse page (which is where you’ll end up most of the time anyway when you’re logged in), you’ll see a menu bar near the top, just under the Search field.

If you’re logged in and see a “My Library” tab here, these are the fonts included with your current plan. There’s no extra charge for these — go ahead and use them!

  • All Families — Yup, this is all the fonts we have. Make sure you have water and someone knows where you’re going before you dive in here.
  • Full Library — These fonts are included with most paid Creative Cloud subscriptions (exceptions include things like the Photography plan) and with any standalone Typekit plan.
  • Limited Library — You can use these fonts without a paid plan! You’ll need an Adobe ID if you want to use them on your computer, but that’s it. Great way to get a feel for how Typekit works if you aren’t ready to commit.
  • Marketplace — You don’t need a subscription plan, but you do need to pay. There’s one-of-a-kind stuff here you’d otherwise have to contact a type foundry directly to get, and once you purchase a font, you’ll have permanent access to it.

Why pay for type? Well of course, it’s up to you whether you do. Some fonts are free, and it’s usually because their creation was heavily subsidized by a company like, well, Adobe. Or Google. Plenty of great type innovation happens on teams like these, but there are a lot of type designers who work outside of these big companies. Unless they’re personally motivated (and probably financially backed) to make their work open-source, selling the fonts they design is how they make their living.

In any case, there’s a lot of type to choose from out there, and we’re excited to see what you do with it. Let us know what you think!

Typespotting: Laundromat mural in the Mission

Tue, 03/27/2018 - 6:59am

Walking along 24th Street in the Mission District of San Francisco, I saw this type mural for the first time not long ago.

The laundromat has been there for years, but I’m less sure about their painted sign (maybe it was just touched up?), and “Protect the Sacred” was definitely new to me. In any case, I thought the whole thing was striking. There’s a homegrown charm to Mr. Burbujas and a definite Mission flavor, while the “Protect” work is something totally different but equally awesome.

I took closer shots of the sign from a less skewed angle, and tried both elements in our visual search feature to see what might be close in the Typekit library.

P22 Stanyan Bold, the very first result, sure did appear to be a close match to the sample text, but it seemed a little scratchier than I wanted; it seemed to be reflecting the texture of the sign more than the shape of the letters themselves. Many of the following results were similar to Garamond in style, definitely picking up on the prominent serifs.

Scrolling further down, the Duality family stood out to me; it seemed to have a little more clarity around the edges than Stanyan, but a similarly hand-drawn personality.

While the contrast between Aviano Black and the sample text does seem really close — as though drawn with the same pen, at nearly the same angle — the letter width is definitely not a match. Adorn Smooth Serif feels much closer in this sense, and I feel like the T is especially similar. I wish the O were a little narrower, though.

I shrank down the spacing considerably for Adorn Smooth here (BURBUJAS) in an attempt to get a slightly narrower feel to the text. I’m not all that experienced with 3D effects in type but had some fun playing around to see what I could do. I’m not sure this is ready for 24th Street, but as usual the visual search feature turned up type options I probably never would’ve thought to try out on my own.

Seen any neat type in the wild lately? If you snap a photo of it, try sending it through our visual search to see what’s similar in the Typekit library – and let us know what you find!

Catching up with Graphic Means

Mon, 03/26/2018 - 11:25am

Graphic Means premiered almost a year ago and we definitely enjoyed presenting a handful of the roughly 100 screenings in 17 countries around the world. A recent tour of the UK included stops at St. Brides Foundation, Royal College of Art, and London College of Communication.

The film returns to the Bay Area this week for screenings at San Francisco State University on March 27 and California College of the Arts on March 28, so we caught up with director Briar Levit to reflect on the past year and hear what’s next.

You did the project as part of your position at Portland State University. What has the response been at PSU?

PSU has been incredibly supportive of my work. Ultimately, this has been the bulk of my research which supports the lead-up to my application for tenure. I submitted last Fall and should hear back later this Spring!

Have you been contacted by people you hadn’t heard of before the film who shared their personal stories?

Absolutely! Many people send emails to say that are so happy to see their story up on the screen, whether it’s paste-up, or typesetting or desktop publishing.

Do you have any “where are they now” updates about the film’s stars?

So many of the folks in the film are super stars who are constantly making amazing work. Adrian Shaughnessy and Ellen Lupton have books out right now, Tobias Frere-Jones’ foundry just released a new typeface. Letterer Gerard Huerta will be teaching a workshop through TDC that I would love to take if I could. And sadly, Walter Graham, the master of paste-up, passed away in January. He was 94.

Do you have any updates on Graphic Means: The Book?

It’s just in the beginning stages right now. I have one more term before I have a year of sabbatical to work on the book. I can’t wait—there are lots more stories to tell, and simply more details to the one I told with Graphic Means.

Anything else you would like to share?

The soundtrack is available for purchase and will also be available on limited edition cassette tape with riso-printed cover soon! Folks may also be interested to check out the Graphic Means shop for some fun stuff.

In addition to San Francisco, upcoming screenings include Design Week Portland on April 18 and TYPO Berlin in May.

Graphic Means is currently available for educational purchase and will be released to general audiences later this year.

Fun, interactive updates to our Source Han Serif showcase

Tue, 03/13/2018 - 8:12am

Adobe Typekit designer Wenting Zhang’s work on the Source Han Serif website won honorable mention at Awwwards for web design. She doesn’t consider her work done, though — and the site continues to evolve with her vision in really neat ways.

When Adobe Type considered how to make a major marketing splash with the companion to the enormously popular Pan-CJK Source Han Sans, Wenting was tasked with designing a standalone website to showcase the type. Wenting is a designer at Typekit, and also a student of type design at the Type@Cooper program in New York, so this was a great opportunity for her to unleash her design skills in a typographic context.

From display image to typographer’s tool

Wenting wanted to present the beautiful Pan-CJK typeface in a more interactive manner. The glyph map at the top, which displays the most frequently used glyphs for each featured language, was a natural point to experiment with hover state behavior.

Wenting got feedback that people wanted to examine the glyphs in closer detail. She’d had something like that in mind herself, imagining that the static cells could be active links. After she made a round of updates, tapping on each character cell now toggles a detail view modal.

Why show the glyphs in so many rotated dimensions? Wenting explains that the rotated view is intended to mimic a common type design technique: designers will often flip a character around to study the spacing more closely.

Designing for regional authenticity

An important feature of Source Han Serif that informed Wenting’s design is its support for regional glyph variations. Having options to switch among regional glyph designs solves a major problem for users of Pan-CJK type, and currently Source Han Serif is one of few typefaces in the world that can solve it. As a result the Source Han Serif site is an important showcase for everything a well-considered Pan-CJK typeface can do.

One example of the regional differences in a shared glyph.

Why are these regional differences so important to highlight? Wenting explains that the attention to detail makes a huge difference when people read text written with a typeface that does — or doesn’t — support the variations. Without that support, the reading experience simply feels “off.” Some readers might even say that a page using (for example) Japanese glyph variants when writing in Simplified Chinese “feels Japanese,” despite the glyphs being technically shared between both languages.

Wenting’s goal was to make the site even more sensitive to specific language considerations and design conventions. As other Chinese, Japanese, and Korean-speaking designers saw the initial version of the site, Wenting got valuable feedback that she decided to incorporate into her updates.

For example, she made more use of vertical layout for Traditional Chinese and Japanese designs, while taking a slightly different tack with Korean (where vertical layout is mostly obsolete) and Simplified Chinese (where it is less common).

Type testing from a designer’s point of view

Wenting plugged in more functionality for the originally-static illustration showing Source Han Serif in a design application. Changing the font selected in the “menu” now results in actual changes to the glyphs just as it would in a real design application — not only weight variations but also reflecting the differences between Korean, Chinese, and Japanese variants of the same glyph. As with other aspects of the site that take the regional glyph variations into account, Wenting said this makes for a much more authentic experience for designers working with different East Asian languages, and is more inclusive of the diversity among pan-CJK type users.

Visual dynamics

Wenting was pleased to further develop some of her initial ideas for the site, and as she scanned the site with fresh eyes she came up with even more ideas to make it more dynamic and add visual interest — such as the staggered animation that brings a neat cascading effect to the chart showing different weights for the typeface.

Hidden in the site is a simple game to spot the differences between region-specific glyphs. This was actually part of the site at the original time of launch. It’s a fun feature and showcases the attention to detail that went into the typeface design.

One last feature Wenting is excited to share can be seen just as you load the site for the first time. An animated cube appears, and if you read Chinese, the glyphs on each side of the cube are intended to be read in sequence as “??????????” repeatedly. Playing with name of the typeface in Chinese (????), the cube represents Wenting’s best wishes for the users of Source Han Serif: “May Source Han Serif bring you a stream of ideas.”

Visit the Source Han Serif website to see Wenting’s work for yourself.

Women designers on Typekit: A few highlights for International Women’s Day

Thu, 03/08/2018 - 8:27am

Most people read words without giving the typeface — and its designer — a second thought. We are not those people. And when we think about type designers, we know that there aren’t as many women represented as there could be.

So if you’re looking for a subtle way to support women in a historically male-dominated field, here’s just a sampling of the typefaces they’ve been responsible for. Use them in honor of International Women’s Day if you like, though we suspect they’ll look great all year round.

For fantastic display headings

Milka from Lettersoup (based on design by Milka Peikova)

Milka is a stencil alphabet originally designed in 1979 by Bulgarian artist Milka Peikova. She worked with the team at Lettersoup to create this digital version, which includes her clean original stencil along with five other styles — so you can play with different textured effects to get just the right look.

Bely by Roxane Gataud

Bely by Roxane Gataud. See Behance project page.

The Regular and Bold weights of Bely show only a hint of what gets unleashed in Bely Display. All in all, this is a terrifically fun typeface when you need to go big, and a well-balanced serif at all weights. We weren’t sure whether to group this one with the text faces or the display faces. Either way, Bely handles (and even embraces) extremes with an immense grace.

Eskapade Fraktur by Alisa Nowak

Eskapade Fraktur (top) and Regular (bottom) by Alisa Nowak.

Eskapade Regular seems like a perfectly normal serif text face, but Eskapade Fraktur is a whole other beast. This is a great choice for the Gothic-storytime feel that blackletter type encapsulates.

Japanese brush style

Kazuraki by Ryoko Nishizuka

Ryoko Nishizuka’s Kazuraki has won awards twice over, placing in the 2002 Morisawa type competition and then in 2010 winning a Typeface Design award from the Type Directors Club. Kazuraki is modeled after the calligraphy of 12th century poet Fujiwara-no Teika.

Learn more from Ryoko about her design work in this 2014 interview — and if you need a different style of Japanese type for editorial settings, her latest release Ten Mincho is a great option.

Indic scripts

Last year we profiled Fiona Ross, a notable designer in this space and frequent consultant for much of the Indic type produced at Adobe — such as Adobe Kannada by Erin McLaughlin.

Adobe Kannada by Erin McLaughlin

The “novel, adept approach” that Erin exhibited even while a typography student at the University of Reading was a decided factor in Adobe’s decision to hire her for the design of Adobe Kannada. Learn more about the design process in our release from 2015. (Also see her 2010 Devanagari typeface, Katari.)

Serifs & Sans

Chaparral by Carol Twombly

Screenshot from the Gridset Demos site by Nathan Ford.

Chaparral is a slab serif, but only if you really look for its “slabby” character; the overall design feels much lighter than would be typical for this style. It’s a fantastic typeface for long-form reading, and makes great headings as well — basically a designer’s dream serif. We geeked out about it extensively in a 2011 About Face article.

Mr Eaves by Zuzana Licko

When we interviewed Zuzana Licko in 2016, she shared an anecdote of being so absorbed by the content of a museum exhibit that it took her a moment to realize she was looking at her own typeface, Mr Eaves. Her work is extraordinarily wide-ranging, with many designs that are anything but subtle (Variex is, perhaps, Mr Eaves after a seismic event) — but if it’s clarity you need, this is a stylish choice.

Maiola by Veronika Burian

Maiola by Veronika Burian. Behance project page.

The more closely you look at Maiola, the more skillful intricacies of its construction begin to stand out — details like the asymmetrical lengths of the strokes and serifs contributing to a hand-drawn quality that aims to appear “etched rather than created digitally.” While these details add dynamism and texture to the page (and Maiola is fantastic for printed work), they won’t distract from your message.

Get the hand-lettered look

Adorn by Laura Worthington

Many flavors of Adorn, showing Adorn Smooth Serif, Pomander, and Condensed Sans.

Laura Worthington doesn’t only make script typefaces, but she does have an exceptional talent for them and Adorn is a fine example of her work. Aside from the stunning variety in the type itself, she packs plenty of extras into her fonts, too — things like ornaments and borders, which are great for giving your work a customized feel and artistic edge.

Gautreaux by Victoria Rushton

Script fonts tend to be technically complex with lots of stylistic alternates in play, but Victoria Rushton designed Gautreaux to work as simply as possible, and the result is delightful all around. Her design is styled after the practiced penmanship of another woman — Victoria’s grandmother. The full story behind that is well worth a read.

Is that all?

No! This list is not exhaustive — there are more fonts by women on Typekit than the ones highlighted here. We don’t have a firm tally on how many of the over 400 designers with fonts on Typekit are women.

We definitely recommend people support women designers by learning more about what they’re working on and investing in their projects. Here are just a few leads:

  • Victoria Rushton has compiled a more extensive list of fonts by women that goes well beyond our recommendations here.
  • For more insight into the type industry from women’s perspectives, Alphabettes is a fantastic resource.
  • If you or a woman you know is someone interested in getting into the field, apply soon to join this summer’s Type@Paris program. Our sponsorship will support the tuition for a student again this year.

Summer in Paris? Apply now for Type@Paris intensive type design program

Wed, 03/07/2018 - 10:52pm

Is your summer schedule still up in the air? Have you always wanted to get into type design? How do you feel about Paris?

Type@Paris is once again running their five-week intensive type design program in the beautiful French capital, where students will spend five days a week in class, go on field trips to study one-of-a-kind collections, learn from industry leaders in public evening lectures, and come away having made their own typeface designs.

Photos by Margaux Saulou, Type@Paris ’17.

Does that sound like where you’d like to be this summer? Apply now! If you’re just coming out of a design program or about to graduate, you may already have portfolio work that qualifies. And no, you do not need to be fluent in French: the Type@Paris program is taught in English.

For those of us who aren’t Paris-bound, we’re especially looking forward to the accompanying evening lecture series, which are free events that will be livestreamed and can be watched from anywhere in the world. We’ll share details about how to watch those later in the summer.

In the meantime, you have until March 14 to apply. Go for it!

Adobe Type wins Keinosuke Sato award from Japan Typography Association

Thu, 03/01/2018 - 12:56pm

The Japan Typography Association has selected Adobe as the 2017 company winner of the Keinosuke Sato award, which is given to a selected company and individual each year for meaningful contributions to Japanese typography.

Taro Yamamoto will accept the award on behalf of Adobe Type on April 20, and will join the winner of the individual award, Akira Kobayashi of Monotype, for a panel session moderated by Kiyonori Muroga, editor-in-chief of IDEA magazine.

The Japan Typography Association (JTA) is composed mainly of type designers, lettering designers, and graphic designers. Keinosuke Sato, for whom the annual award is named, was one of the founding members of the association. His work as a type designer and researcher spans from the 1930s through the ’70s. The JTA was founded in 1971.

Source Han Sans and Source Han Serif, two important Pan-CJK releases from Adobe Type.

In 2017 Adobe Type released both Source Han Serif and Ten Mincho, and both typefaces were well-received in Japan. Work from previous years, such as Kazuraki and Source Han Sans, was taken into consideration, and the panel of judges for the award called out improvements to Japanese font support on Typekit as a factor in their decision as well.

Kazuraki (left) and Ten Mincho, both designed by Ryoko Nishizuka.

Past recipients of the award include our foundry partners Dai Nippon Printing, Morisawa, and Jiyu-kobo.

Read the Japanese press release.

New on Typekit: Midwinter 2018 edition

Wed, 02/28/2018 - 9:01am

February’s a short month, and in our case it’s been a busy one with several new additions to Typekit. Here’s a look at what’s new in our subscription library and on Typekit Marketplace.

As a reminder, Creative Cloud members can use fonts from our subscription library at no additional cost to their annual plans. Fonts on Typekit Marketplace require no paid subscription; instead we charge a one-time fee for each font you’d like to use, with prices set by the participating foundries.

Introducing Conductor from Frere-Jones Type

Conductor from Frere-Jones Type.

We’re big fans of everything that comes out of Frere-Jones Type and Conductor is no exception. Conductor was designed by Tobias Frere-Jones and Nina Stössinger, with contributions by Fred Shallcrass.

Conductor is a wide typeface by nature, inspired by “blocky numerals from vintage Bulgarian lottery tickets.” Thoughtful construction and a healthy variety of widths makes this an adaptable design, suitable for far more than just lucky numbers.

Conductor Wide, Regular, Narrow, and Condensed italics (left) and narrow italic (right).

In addition to that, Helen Rosner’s article on Conductor is one of the best pieces of writing on type that we’ve seen. Whether you plan on using Conductor or not, we’d recommend reading about it from her.

New fonts from Rosetta Type, URW++, and TypeTogether

Rasa and Yrsa from Rosetta.

Earlier in February, we boosted our collection of type supporting Arabic, Devanagari, Hebrew, Gujarati, and Armenian scripts with additions from three foundry partners. Read our full roundup of new type from Rosetta, URW++, and TypeTogether.

Adelle Sans Arabic Thin from TypeTogether.

New in the Typekit UI: More options in the language filter!

Since adding these fonts, we’ve also made it a little easier to filter for language-specific type. On typekit.com/fonts, check the filter menu on the right-hand side.

Welcome Atlas Font Foundry!

We welcomed a new foundry partner this past month — Berlin-based Atlas Fonts, established in 2012 by Christoph Dunst.

Heimat Mono, Stencil, and Display by Christoph Dunst.

The Heimat collection is now available in our subscription library, with its backwards-descender y and plenty more quirks that will make for an immediate impression wherever you use it. Styles include Heimat Mono, Stencil, Display, Sans, and Didone. Take your time looking through these — Didone and Display in particular, as these families each include 72 different fonts in a huge variety of widths and weights.

Novel Mono, Novel, and Novel Sans Condensed. Art from Atlas Fonts.

Also from Atlas, you’ll find several styles of Novel available for purchase in Typekit Marketplace. Novel itself is a sturdy serif with six weights and italics, and you have your choice of sans-serif versions you might pair with it: maybe the Condensed width of Novel Sans, or the super-compressed “xcomp” version of Novel Display if you’re feeling ambitious. The letters take on an entirely different personality in Novel Sans Hair — or you might find yourself drawn more to the softened shapes of Novel Sans Round.

Will you be using Heimat in a project? How about Conductor? We’d love to hear about what you’re making — let us know, and keep watching this space for more fonts!

Typespotting: Industrial-chic address

Fri, 02/09/2018 - 9:00am

Addresses are a great source for type inspiration. It’s a place where big display typefaces can really shine.

I walked by this entrance to an otherwise-unlabeled building complex while heading to a cafe, and of course noticed the painted numbers. This is in the Dogpatch neighborhood in San Francisco, where light industry is adjacent to a growing upscale commercial district — which makes for a lot of variety in the signage. What would visual search point me towards this time?

The initial results from visual search were a little scattered. I wondered if the tool was picking up different cues from the 1 and the 3, and tried running the search again on each number in isolation.

Lust seemed like the clear preference for the number 1; in fact, there wasn’t anything but Lust variations in the recommendations. It definitely shares some of the same flavor, but Lust has an extremely high contrast while these numbers… don’t.

Unsurprisingly, Lust wasn’t even in the list of recommendations for the 3. I thought New Hero Super and Magallanes ExtraBold seemed reasonably good, but each of these had clear differences too.

The more I compared the 1113 numbers to their counterparts in the recommendations, the more I noticed odd details about them — like how the sides of the 1 bow inward while there’s none of that in the 3, and how the bottom edge of the 3 is angled far more sharply and in a different direction than the top and middle — something I didn’t see in any of the typefaces listed as suggestions.

Clearly I wasn’t going to find an exact doppelgänger for this one, so I looked at the suggestions and tried out “1113” in all of them to see what I liked best. Bernhard Gothic URW Ultra was a surprise fit — it came up in the suggestions for the “3” and when I tested it the “1” was actually not that far off.

Bernhard Gothic URW Ultra, very squished.

The type needed a bit more manipulation once I’d placed it in Illustrator, which I managed in the Character panel; the numbers were much more widely spaced and I wanted to bring them more closely adjacent.

Character panel in Illustrator. I edited the bottom two values.

I haven’t looked this closely at numbers since I wrote the type for numerals post, but they are truly everywhere — keep your eyes open for interesting addresses and let us know if something strikes you! Tag us on Twitter or Instagram and let us know what visual search helps you uncover.

New fonts and broadened script support

Tue, 02/06/2018 - 1:00pm

In this newest batch of fonts from three of our foundry partners, we’re delighted to expand our support for Arabic, Devanagari, Hebrew, Gujarati, and Armenian. Latin script tends to be overrepresented in the typography world, and we’re eager to better represent the true range of scripts used all over the globe on Typekit.

Arabic type from Rosetta

Aisha by Titus Nemeth. Art from Rosetta.

Titus Nemeth started with the Arabic when designing Aisha, and adapted the Latin afterwards. He credits this approach for the fluid character of Aisha in both scripts. Check the Rosetta site for a great overview of the development process for this gorgeous and adaptable typeface.

Eskorte Arabic by Elena Schneider. Art from Rosetta.

Eskorte Arabic by Elena Schneider is designed for all kinds of editorial use, intended for clear and crisp reading quality at any size.

Also from the Rosetta crew, we’re offering Nassim Arabic and Skolar Sans Arabic.

All of these fonts from Rosetta are available for purchase on Typekit Marketplace. Fonts on Marketplace can be purchased without a paid Typekit subscription, and once purchased are synced like any other font from our regular subscription library.

Arabic type from TypeTogether

Adelle Sans Arabic by Azza Alameddine. Type specimens from TypeTogether.

Adelle Sans is one of our most beloved type families, and we’re delighted to welcome Azza Alameddine’s Adelle Sans Arabic to the library. It’s built to be flexible and adapt well to a number of different settings, and with eight weights you’ll be pressed to find a space where it can’t perform well.

Just in case that isn’t enough, we’re adding Athelas Arabic and AwanZaman to the library as well.

Arabic type from URW++

Schnebel Sans by Volker Schnebel. Art from URW++.

Designer Volker Schnebel worked for 12 years on Schnebel Sans, aiming to create something clear and legible for body text while retaining an ability to “generate the necessary tension when set as headlines.” Schnebel Sans supports Arabic, Hebrew, and Latin text.

Armenian type

Arek Armenian by Khajag Apelian. Art from Rosetta.

From Khajag Apelian, we’re delighted to offer Arek Armenian from Rosetta. Drawn with a calligraphic touch, this typeface is the result of many hours of researching old Armenian manuscripts — and it comes in ten styles to support an enormous range of editorial needs. All weights are available for purchase on Typekit Marketplace.

Devanagari type

Skolar Devanagari was designed with the intention of meeting the need for more text typefaces in Devanagari, one of the major scripts of India. We recommend the fantastic blog post from Rosetta showcasing the careful consideration that designers Vaibhav Singh and David B?ezina put into this typeface.

Nimbus Sans Devanagari, by Pria Ravichandran. Art by URW++.

Nimbus Sans Devanagari from designer Pria Ravichandran for URW++ offers a completely different energy and rhythm for Devanagari; indeed, the whole Nimbus superfamily is optimized for situations like signage and mobile displays where legibility is a must.

Gujarati type

Rasa (Gujarati) alongside Yrsa (Latin) by Anna Giedry? and David B?ezina. Art from Rosetta.

The Gujarati typeface Rasa was co-developed alongside the Latin typeface Yrsa in one of Rosetta’s more ambitious undertakings. Designed by Anna Giedry? and David B?ezina, Rasa was built to excel in text settings requiring continuous reading across lines — and with five weights, works well if you also need to set headlines or captions apart from running body text. The whole project is fascinating, and we recommend reading the whole story on their Github page.

Much of Rasa was adapted from David B?ezina’s Skolar Gujarati, which is now available for purchase on Typekit Marketplace.

Stay tuned for more! If you have questions about finding fonts that support the languages you need, reach out anytime on Twitter or drop an email to support@typekit.com. We’ll be happy to help you out.

Type@Cooper West’s 2018 Lectures

Tue, 02/06/2018 - 8:22am

Now in its third year, the Type@Cooper West lecture series returns to the Koret Auditorium at the San Francisco Public Library Main Branch (100 Larkin Street) on February 13 with another excellent lineup.

Loïc Sander will present “Didot, the Genesis of Style” as the 2018 season opener. Also on deck for the winter lectures:

Typekit is pleased to sponsor this free series. You can watch videos of past lectures here.

Type@Cooper West Workshops

In addition to the lecture series, Type@Cooper West is once again running public workshops for those who want to further expand upon their typographic skills.

Weekend workshops in the coming months include:

Additionally, there are some evening programs for those who like to cap their days in the type classroom:

New on Typekit in January 2018

Tue, 01/30/2018 - 1:18pm

We’ve started off 2018 with a great batch of new type on Typekit. Did you make any design resolutions that could use a boost with a new typeface to play with? Have a look at what we’ve added and see what inspires you.

New from Plau

One of our newest foundry partners, Plau is a type foundry and brand identity studio based in Rio de Janeiro, Brazil.

Tenez from Plau.

Tenez has roots in pointed nib calligraphy, and the high contrast letters here definitely share some characteristics with Didot and Bodoni styles. Look for stylish details emerging from the organic construction of the letters, too. The capital R in particular has a gloriously distinct personality.

Plau from… Plau.

Plau’s namesake typeface, Plau, is a great addition to any shortlist of futurist-inspired design. The foundry calls out its “rounded corner personality and interestingly deliberate lettershapes.”

Primot from Plau. Art specimens courtesy of Plau.

And don’t miss Primot, the “ice cream sandwich in a font.” It’s inspired by Italian gelato shop signage and feels like artfully-contained exuberance.

Fonts from G-Type

Remora from G-Type.

Of the 112 fonts we’ve added to the library from our new foundry partner G-Type, a whopping 70 are part of the Remora Sans type system by Nick Cooke. Width classes are noted with W1–5 in the names, and for each width there are seven different styles — plus italics. Hope you have a lot to say! Remora Sans with 5 weights and 7 styles, plus italics — a total of 70 fonts.

Olicana from G-Type, featuring Rough, Smooth, and Fine styles.

When a sans-serif won’t cut it, check out the three hand scripts we’ve added, too: the splotchy-pen intensity of Gizmo, Rollerscript, and lovely ligature-packed Olicana.

More to sync from Jan Fromm

Komet by Jan Fromm. Artwork by Jan Fromm.

Jan Fromm has been one of our foundry partners since 2010 — the year after Typekit launched! — and we’ve featured the web versions of Rooney, Rooney Sans, and CamingoDos in plenty of Sites We Like over the years. Now those fonts are also available for purchase on Marketplace, which means you can use them in your desktop applications as well — and in addition to that, Jan has added his Komet family to our regular subscription library for web and sync.

New from Laura Worthington

Ganache, Charcuterie, and Winsome from Laura Worthington, with ornaments also from Charcuterie collection.

Laura Worthington is well-known for her gorgeous scripts, which are primarily based on her own calligraphy and lettering. Plenty of these scripts are among the 101 fonts (!) we’ve added from her — but be sure to take a look at the Charcuterie collection too. An ambitious undertaking, Charcuterie comprises ten font families and three decorative typefaces to boot, which can make for fantastic combinations of styles if you use more than one in a design. Laura’s thoughtful overview of her goals with Charcuterie is definitely worth reading, too.

Introducing Landa from Sudtipos

Landa from Sudtipos. Artwork courtesy of Sudtipos.

Our newest addition from Argentinian foundry Sudtipos is Landa by Pablo Alaejos, a beautifully textured serif the foundry calls “A rendez-vous between Nicolas Jenson, Oldrich Menhart, and nature itself.” You can sync Regular and Italic right away from our subscription library, and if that doesn’t quite whet your appetite, four more weights and their italics are available for purchase on Marketplace.

New in the library from Northern Block

Neusa from Northern Block. Artwork by Northern Block.

Northern Block has two new additions to our library: charming Eldwin Script with its tidy six weights, and then there’s Mariya V. Pigoulevskaya’s powerhouse sans Neusa Next. Neusa Next is really multiple font families, with Condensed, Compact, and Wide widths in addition to the regular width, and each of those comes in five different weights with italics.

Rival & Rival Sans from Mostardesign

Rival from Mostardesign. Art by Mostardesign.

The Rival superfamily is an exciting addition to our library from designer Olivier Gourvat. Check out all seven weights of Rival, which feels typewriter-like at the lighter weights and goes up to Extra Bold and Black for when you need something with a lot of gravity. Rival Sans is even more extensive, with a Narrow width for tight spacing needs and an additional Thin weight.

’90s throwbacks from Adobe Originals

Admittedly, Critter falls pretty far outside our regular range for type. If you want your letter R to have the shape of a raccoon, we simply don’t have a filter you can use to browse for that on Typekit. But when we learned that we’d be making Critter available to sync, we kind of fell in love with it. You must be at least a little curious to know what animals would spell your name.

Also from that prolific era, we’ve added Mezz and Galahad to the sync collection, too.

Thanks for reading this month’s roundup — we hope this gets you inspired for a new project or two! For a quick overview of what’s new in the library, visit Typekit.com/fonts and set the sorting filter to “newest.”

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