December 19, 2012
This year’s holiday card was set entirely in Source Code Pro, designed by Paul D. Hunt, making use of its monospaced nature. Design and layout was done by Frank Grießhammer, who is a big fan of Unicode’s Box Drawing characters (U+2500 – U+259F).
Happy Holidays, and the best wishes for 2013 from the whole Adobe Type team:
Paul D. Hunt
December 3, 2012
A little over three months ago, we launched the Adobe Type Community Translation program and began engaging with community members to translate the typeface notes for the Adobe Type Library. Using the Adobe Translation Center (ATC), customers, users and fans of Adobe Type have contributed over 260 translations to this project. We’d like to take a moment to publicly thank all of these individuals for their contributions. Continue reading…
November 2, 2012
Since the launch of Source Sans Pro just over two months ago, it has been encouraging to us to see its adoption in places such as the text font on the popular social news site, Digg, and incorporated as part of Stanford University’s identity guidelines for digital media. Part of the reason that we care about adoption is that we hope that as others want to use these fonts, they will also help to develop this type family to cover an expanding range of use cases.
Logos Bible Software 5 interface featuring Source Sans Pro
In fact, we recently had our first collaborative experience to extend the functionality of Source Sans. Not long after the fonts’ release, Logos Bible Software contacted us with a list of features which they indicated interest in helping to develop. Today Logos is launching the latest version of their bible study application and they have switched to using Source Sans as the main type for the user interface. In speaking about why Logos decided to make this change to their UI design, Bob Pritchet, CEO of Logos Bible Software, remarks, “Source Sans is a beautiful and uniquely useful type family with multiple weights, a rich set of glyphs, strong OpenType feature support, and most importantly, an open source license that allows us to extend it for specific needs, like scholarly text-critical apparatuses and ancient scripts.”
October 25, 2012
We are pleased to announce that all of Adobe’s Web Fonts are available through Monotype’s Web Fonts service at Fonts.com.
Adobe and Monotype have been working together for over two decades to deliver the highest quality fonts for desktop and printer use to our customers. The inclusion of Adobe Web Fonts on Fonts.com is a natural direction for us to take in continuing this long-lasting relationship and demonstrates our combined desire to bring fine typography to the web. In the future Adobe will make selected Monotype fonts available on our Typekit web font service. Watch this blog for more details soon.
To browse the selection of Adobe Web Fonts on Fonts.com go to the Adobe foundry page by clicking the ‘WEB FONTS’ tab. You’ll find over 300 hundred fonts from Adobe’s award winning type library. Each of these fonts has been hand-tuned to look great on screens and in today’s web browsers.
We welcome Fonts.com as another Adobe Web Fonts partner and look forward to seeing more Adobe Web Fonts on the web.
To learn more about Adobe Web Fonts, visit our Adobe Web Fonts page.
To learn more about Typekit by Adobe, visit typekit.com.
To learn more about the Fonts.com Web Fonts service, visit fonts.com.
October 12, 2012
Earlier this year, Adobe sponsored a series of short videos by the Type Directors Club (TDC). Each video in the series, appropriately named Type Legends, features an interview with a legendary type designer. Thus far, four videos have been released. As a sponsor of the videos, supporter of TDC, and a team of folks passionate about type we were thrilled to see these videos come to life and wanted to share the video links with all our Typblography followers.
September 24, 2012
Following up on Source Sans
The public reception of the release of Source Sans Pro last month was very encouraging. My colleague, Ken Lunde, pointed out that this was not Adobe’s first open source font as Kenten Generic has been available for some time now. But I stand by my claim that it is Adobe’s first open source type family. Sorry, Ken. The blog post announcing the family’s release has been our most popular in the history of Typblography and the news was picked up by major tech media outlets such as Wired, Ars Technica, The Verge, &c. As of today, the fonts have been downloaded over 68,250 times from SourceForge.
One particularly surprising aspect of Source Sans’s release was the amount of interest generated by the teaser graphic of the monospaced version. It seemed that this generated about as much buzz as the fonts that we released. Brackets, the open source code editor created by Adobe, has just recently implemented the regular weight of Source Code into their project. Likewise, the font will be integrated into Adobe Edge Code, which was announced this morning at our Create the Web event in San Francisco. The complete family of six weights will also be available as part of our new Adobe Edge Web Fonts service, which was just announced this morning.
September 8, 2012
The Adobe Type Team’s very own Read Roberts has been hard at work preparing a new version of AFDKO (Adobe Font Development Kit for OpenType), and posted the release earlier this month. It is Build 58732, dated September 4th, 2012, and is ready for public consumption. Be sure to read the detailed Release Notes for this new version. In particular, this release includes several important bug fixes for font developers who use AFDKO tools to build OpenType/TTF fonts, or fonts that include mark ‘GPOS’ lookups and/or the ‘GDEF’ table. In addition, the checkOutlines tool incorporates several important fixes for cases when it inadvertently reversed subpaths or removed the wrong subpath.
August 22, 2012
Today, I’m excited to announce the launch of a new pilot program – Adobe Type Community Translation. This program is aimed at getting translations for Adobe’s typeface notes and will offer handsome rewards for contributors. We will be leveraging Adobe’s own community translation tool, the Adobe Translator application, to get translations for our 400+ typeface notes (also referred to as typeface histories). These typeface notes provide users additional information about the typeface and often include information about the history of the typeface. On average, these typeface notes are about 100 words in length. Continue reading…
August 20, 2012
Since the release of Source Sans Pro we have received an enormous amount of feedback which, in addition to congratulating us on the project, has made us aware of a number of issues that affected this font family. I’m pleased to say that we have revised the fonts and that the updated files have been posted on Open@Adobe at SourceForge. Here’s the list of changes:
- Improved sidebearings of some glyphs, improved kerning classes, improved some kern pairs.
- Fixed metrics issues with upright letter D and composites.
- Added glyphs and OpenType feature support for Jarai language.
- Added ‘ordfeminine’ glyph to ‘ss02′ feature.
- Changed glyph name ‘schwa.supss’ to ‘uni0259.sups’.
- Changed weightClass value of the ExtraLight fonts from 250 to 200.
- Changed OS/2.usWinAscent and OS/2.usWinDescent values to be the same across all fonts.
- Changed hhea.Ascender and hhea.Descender values as a result of the OS/2usWin changes.
- Changed OS/2 table version number from 4 to 3.
- Harmonized the copyright strings.
Also today, in response to the many requests we got, I’m happy to announce that Source Sans Pro is now hosted on GitHub as well. We expect this repository to become the place where we engage with the community and do the continuous development, whereas SourceForge will remain the location where we post each stable revision of the family.
We had heard about GitHub before, but we weren’t aware how popular it was. The team had little experience using it or working with the tools available for interacting with the repositories. Fortunately, we were able to enlist the help of Paul Picazo, a colleague from the EchoSign team, who gave us a two-hour crash course which got us most of the way up-to-speed with the tools and processes. Thanks a lot Paul!
Finally, for the many of you who expressed interest in the monowidth version of the Source Sans design, all I can say for now is that its development is moving along quite well and that we’ll have more news in the near future.
August 14, 2012
Over at Daring Fireball yesterday, John Gruber waxed rhapsodic about his lifelong relationship with pixels, and their marginalization in the new MacBook Pro Retina Display. He then talked about fonts in that context:
Regarding font choices, you not only need not choose a font optimized for rendering on screen, but should not. Fonts optimized for screen rendering look cheap on the retina MacBook Pro — sometimes downright cheesy — in the same way they do when printed in a glossy magazine. […] Great fonts, intricately designed for high-resolution output, aren’t just allowed, they are necessary for a design that truly sings on this display.
John is talking about the long game of type design that Adobe has been practicing and advocating for over 25 years — especially in the last two or three years as screen fonts (a.k.a. web fonts) have taken a front seat in designer workflows and font foundry business planning. While there’s nothing wrong with finding the perfect solution to a contemporary problem — as many foundries have sought to do with highly screen-optimized fonts — it’s an endeavor that takes a lot of time and resources, always with the looming threat that those benefits will be fleeting. At Adobe, we’ve always been very comfortable relying on the inherent value of type designed to work well in print and high-resolution environments. No doubt that is a conservative choice, but keep in mind that Adobe Type has always been a product for digital workflows. One of the first Adobe Originals, Adobe Garamond, was designed in consideration, not defiance, of the 300 dpi laser printers of its time. Doing so did not make it incongruous with the past or the future.
I’m looking forward to the day when this bifurcation, “fonts” and “web fonts,” disappears and we can get back to simply practicing good typography with good typefaces, and worrying less about the medium and the technology. Although it seems like we’ve been anticipating high resolution screens for at least fifteen years, perhaps we are, finally, almost there.