If you are also tired of seeing the ever same fonts and style on the web, and the rich typefaces getting richer, here is a running shortlist of potential body copy typefaces for alphabettes.org I once compiled. I did not test how they look in extended text yet, nor rendering across platforms/browsers. That would be the next step (and we’re also still quite happy with Elido although see that we could use more extensive language support). But maybe you are looking for a fresh, lesser seen typeface and want to check some out anyway. Trying on new clothes is luckily quite easy if you have a website up already, e. g. with tools/bookmarklets that swap out the fonts you currently use, like Webtype’s Font Swapper or FontShop’s Webfonter. Also, most of the typefaces below are available on Fontstand or as trial versions from the foundries, so you can test them locally or in mockups. Let us know if you end up using any at some point.
… and a bit about type on the web in general.
It’s long overdue that we introduce you to Elido more. I won’t even need that many specimen images because it’s the typeface you are reading right now. When we were discussing the fonts for the Alphabettes blog, we were after something that looks appropriate for very diverse content that we didn’t have yet — potentially long or maybe short, serious, delightful, angry or funny — and that is comfortable to read and rendering well on the web. All demands that many editorial sites share.
It’s been an exciting year in type; one that saw many technical innovations, company mergers and restructuring, as well as some delightful new font releases which we will surely encounter in printed matter around the world soon.
But let’s start with the biggest loss for our industry in 1915: Georges Peignot, type founder in Paris and one of our greatest type designers — of Grasset, Auriol, or Cochin to name a few — died in battle, only 43 years old. Curious to see how long the foundry will be able to remain independent without its head :/ Another substantial loss was the death of Wilhelm Woellmer’s CEO Siegmund Borchardt. His son Fritz (34) suceeded him at the Berlin foundry.
Koralle by Schelter & Giesecke, Leipzig, is a breath of clear fresh air after the surge of gnarly grots and artsy spawn of recent years. Neither totally geometric nor too hyggelig humanist, it combines simplified letterforms — e. g. its signature lowercase a — with traditional proportions for good readability. (What I used to tag as “trans-sans”?)
It’s talked about everywhere — typefaces are expected to be available in large series these days, not just a handful of fonts. The good folks of ATF-division Barnhart Brothers & Spindlers listened and added an open/inline variant to their popular Caslon Series (as others are doing, too). According to BB & S’s marketing material, it’s “light, airy, dainty [blah…] and decidedly French”. This is a fun stretch as almost all of us would think of Caslon as decidedly English. Compared to Caslon’s Inline, Caslon Openface features many totally different letterforms and has a much smaller x-height.
You know the problem: you set your mind on a typeface and then it’s not available in your size, format, or for the machine you have. 😞 In the case of Bodoni, this just got a little less likely to happen.
Card Bodoni for one is the latest style in the expansive ATF Bodoni series. Like virtually everything at ATF, it was drawn by Morris Fuller Benton as an adaption of their standard smash hit to an all-caps titling face (meaning, cast on the full body without descenders). This is especially handy for the setting of forms, cards (duh) and other stationary. A few glyphs like J, Q and punctuation were changed so that they do not reach below the baseline.
This is the first in a series of letter love Love Letters where we’re showing a piece of letter-related ephemera we love.
I love Buttermann (butter man), the logo/mascot of the Dresden Brüder Butter type foundry (later Schriftguss A.-G.) from the 1920s. It is so joyful and affable like no other logo today, at least not in any type related business. Buttermann cheers to you from specimen books, merchandise coins, or hurries through poster type with a spoon of lead in his hand.
For the scholars among you who are looking for peer-reviewed places to publish their research papers, the following publications and journals may publish articles on type and typography related topics, visual communication, etc.
Academia.edu (online forum, may not count as peer-reviewed)
British Journal of Educational Technology
Convergence — International Journal of Research into New Media Technologies
Communication Design — Interdisciplinary and Graphic Design Research
Design and Culture
Gutenberg Jahrbuch (DE, submission guidelines)
Information Design Journal
International Journal of Design
Journal of Artistic Research
Journal of Design History
Journal of the Printing Historical Society
The Design Journal
The International Journal of the Book
Tools and Techniques for Computer Typesetting
Visible Language (of which Amy just co-edited the latest issue!)
(The International Journal of Digital Typography seems to be discontinued.)
If you know of other relevant journals or publications, please let us know in the comments. I’ll update this list as I hear of more, too.
Yes, design students need access to good fonts. Working towards A Future Free Of Type Piracy, but on a student-friendly budget, I asked those among the Alphabettes who run type foundries if they’d be willing to offer their wonderful ware at an especially fair edu-fare. Here are the ones that replied:
50% discount on single styles, 70% on family packs (OTF only). Email Elena Albertoni with proof of your current student status (photo/scan of student ID) and your full postal address for a receipt (VAT may apply).
50% discount on the entire library for students, teachers, and schools. Individual students can purchase fonts through the store but have to register by filling out this form: “Applying for an academic discount”. Schools requiring licenses for more than 45 CPUs email Joyce Ketterer directly.
90% discount for students (full families only) if you email Andrea Tinnes a valid student ID, short description of the project the typeface is used for, and later a sample/image of the work. For her typefaces licensed through Primetype, contact Ole Schäfer and receive free trial fonts for academic / non-commercial use.
25% discount on all typefaces for students and academic staff. Email from your uni-email-account or send a copy of your student ID. Institutions who wish to license fonts for a whole class, 10–20 single styles, or more can contact Veronika Burian & Co for an even larger discount. Typefaces can also be made available for free in certain cases if you provide a description of the project, sign a temporary license agreement, and later send images of the finished work.
15% discount on all typefaces for students and academic staff, also 10 free trial fonts and some free fonts. Contact them from your uni-email-account or send a copy of your student ID. Temporary license can be arranged under certain conditions, contact Véronique Porchez to explain your project. Institutions who wish to license fonts for a whole class or school (10+ users), please also contact Véronique directly.
Thanks Véronique, Veronika, Andrea, Ulrike, Isabel, Sibylle, Sol, Joyce, and Elena for your generous offers!
If you know of other worthwhile student type discounts please comment below or send us a note. I also put together this list a while back to which I’ll add these offers now. And keep us updated on what you did with the fonts. All type designers love seeing their work being used and will be happy if you send them some photos or links.