…sort of. ☺
…sort of. ☺
Here is a wonderful chance to take type and make it dynamic!
A few weeks ago, our friends at FontGear launched a new contest and we invite you to combine type and video in a way that moves us all. And while you’re at it, you can win some cash as well.
And fonts don’t have to be the key theme. Pick one that interests you, but make sure that your videos share some focus on the creative and obvious use of typographic concepts, subjects, and storylines. Entry is free!
Want to add some extra zip to your work? We’ve heard that Adobe has a few products like Adobe Photoshop, Premiere, Flash or After Effects which can help you to be your most creative. But we digress. Whatever your choice of tools, you have a chance to win big. First place takes $1000, Second place $500, and Third place can win you $250.
A jury of industry professionals, featuring Adobe’s own Ginna Baldassarre, will choose the three best font-related videos submitted. So get your type on some tape or your glyphs on some clips, but make sure you enter by September 30, 2010. Time, like a film reel, is always running out!
Note that this is not part of my day job, and any views expressed on this topic are my own and do not reflect any position of Adobe’s on these issues.
This is a long one, but the punchline is that Dr. David Hailey has published some new analysis of 2004’s infamous purported Bush National Guard memos, with access to much better copies of them than have previously been available to anyone outside CBS. Although I disagree with his conclusions, having better samples has allowed me to do some analysis of my own, and I do believe we’ve got even more certainty about the typeface: it’s Times Roman (from Linotype, distributed heavily by Adobe and Apple) rather than Times New Roman (from Monotype, distributed heavily by Microsoft).
[Update, later same day: So, I’m reading through the Wikipedia entry on authenticity issues (cited below), and I run into this bit. “Desktop magazine in Australia analysed the documents in its November 2004 issue and concluded that the typeface was a post-1985 version of Times Roman, rather than Times New Roman….” Well, so much for my write-up being a scoop! All I can say is that I don’t recall that bit being there the last time I read the entire Wikipedia article… sigh.]
Here’s another really first-rate type family that is quite versatile but little seen: Penumbra (available in 16 fonts, four styles x four weights). This 1994 all-caps design by Lance Hidy is based on his own poster lettering. The letter proportions are in turn based on the classical Roman lettering of 2000 years ago, most frequently seen today in serifed form in Adobe’s Trajan.
The unusual thing about Penumbra is that it has a continuum of four designs from sans serif to fully serifed, with two steps in between Sans, Flare, Half-Serif and Serif sub-families. Penumbra was originally created as a Multiple Master typeface, a technology which is being phased out, but is still interesting enough that it will doubtless be the subject of a future blog posting.
Here are four of the sixteen Penumbra fonts:
Penumbra Sans Light
Penumbra Serif Regular
Penumbra Sans Semibold
Penumbra Serif Bold
In its pure sans serif form, Penumbra almost recalls Futura or other geometric sans serifs, while in the pure serif form it has the versatility of the previously mentioned Trajan, while being more robust. I think one can use Penumbra for titling/display work anywhere one might think of using Trajan or all-caps Futura, which is saying a lot: book and magazine covers, posters, flyers and headlines are all fine candidates for Penumbra.
I must confess I owe a personal debt to Penumbra: it was the typeface that made me rethink the relationship between classical roman forms and geometric ones, and showed me how well those classical proportions could be used in a sans serif (though of course it was not the first to do so). My own upcoming typeface, Hypatia Sans (of which more later), represents my own take on this issue, among others.
Occasionally, I am going to do a feature on one of our most overlooked typefaces. These are typefaces that I think very highly of, but don’t sell like hotcakes. Today I’m starting with Chaparral, designed by Carol Twombly around 1997.
As you can see, Chaparral is a humanist take on the slab serif genre. It has more contrast than most slab serif faces (even more evident in the semibold and bold weights). The angle of stress is not quite vertical, though it’s close. The ends of the slab serifs are not quite square-cut, either. And of course it’s proportionally spaced, rather than being monospaced like Courier.
The net effect is a sturdy but versatile text face. Adding to this versatility is the range of optical size variants that the typeface is equipped with. As a full-featured OpenType design, Chaparral also features, central European language coverage, small caps, oldstyle figures, ligatures and other typographic refinements.
Although Adobe has its corporate typefaces (Minion and Myriad), which reduce my opportunities to use other fonts, I have used Chaparral for a number of projects, to great success. I’ve recommended it for usage in a remarkable range of situations, from the body text for a health-related magazine, to general office use when something warm and not too clinical was desired.