Florian

👋 Find me elsewhere. Flickr flickr.com/photos/hardwig/ Masto @fhardwig" target="_blank" rel="nofollow noopener">mastodon.social/@fhardwig Fonts In Use: fontsinuse.com/contributors/1…

The Fonts In Use team unanimously condemns the assault on safety, security, and basic humanity continually displayed by Twitter’s new ownership. We loved it here, but can no longer justify engaging in this platform. Find us at @FontsInUse" target="_blank" rel="nofollow noopener">typo.social/@FontsInUse and fontsinuse.com.

@typostammtisch Vermutlich lose basiert auf der Breiten fetten Information: fontsinuse.com/typefaces/3172… flickr.com/photos/peter-g…

Und welche Schrift ist das?

@LeoVazquezC @Mikeashworth12 Agreed! Stempel didn’t trust the appeal of these idiosyncracies, and offered a second series with conventional (Futura-like) terminals. Guildford Sans is equivalent to series I, but w/ the two-story ‘a’. It didn’t help: the design wasn’t a big hit, neither in Germany nor the UK.

@hardwig @Mikeashworth12 Thank you. It has it own style. the endings in the stems of the lowercase p, q, etc are interesting.

@LeoVazquezC @Mikeashworth12 The name is English. The design came from Frankfurt, though, just like Futura (Kabel is from nearby Offenbach): Guildford Sans is Caslon’s name for Stempel’s Elegant-Grotesk: fontsinuse.com/typefaces/3217…

@Mikeashworth12 @hardwig The english version of Futura or Kabel?

@EvaSilvertant Luc had to permanently stop his type documentation work in May 2022 after a bicycle accident. luc.devroye.org/about.html

I found a way to escape Luc Devroye! Just pursue a gender transition and change your first name. Luc hasn’t documented anything from Martin Silvertant since 2016, and so he hasn’t identified Eva Silvertant yet! 🤭 No one tell him! Let him figure it out on his own.

@hhpapazian @EvaSilvertant Yes. It’s nicely explained by Legros & Grant, 1916: archive.org/details/typogr…

@hardwig @EvaSilvertant BTW in the old lingo the kern was this part:

Does anyone know what typeface is used for the first line (i.e. Národna...)? I gotta know! I’m collecting typefaces with straight-legged Rs (and optionally, straight-legged Ks).

@hhpapazian @EvaSilvertant Right, kerned sorts are another option.

@hardwig @EvaSilvertant Sorry, not true. As my letterpress teacher once pointed out, the best printers would actually file down their sorts to get a good fitting. Here's some evidence from the Pascal that I own: twitter.com/hhpapazian/sta…

@EvaSilvertant I don’t know. A cliché seems likely.

@hardwig How is this printed? Is it a metal cast of all the text?

@EvaSilvertant What I’m saying is, to achieve such tightly spaced and even overlapping pairs in metal type, one would need to make ligatures. And that’s unlikely, not only because ligatures for such pairs are uncommon, but also because the visual result isn’t really convincing.

@hardwig I thought they were clashes rather than ligatures. I do notice a difference in the angle of the apex of ‘Á’ vs ‘A’, but all Ás look consistent to me.

@MilesNewlyn @gabrowitsch @AdobeCC From the Adobe Blog: “[D]id you know that you can also use the fonts in other software like Microsoft Office and Keynote? They’ll appear in your font menus just like the fonts you have installed on your computer” blog.adobe.com/en/publish/202…

@gabrowitsch @AdobeCC They can't use font files. Adobe does not supply font files.

I'm surprised how many gross license infringements are caused by people thinking their @AdobeCC subscription means they can use font files. This is a rich source of litigation revenue for the 200ish font foundries on Adobe fonts.

@JonathanHoefler @TiroTypeworks @EvaSilvertant That article you’re thinking of is probably @BaldCondensed’s about finding the “Most Totally Awesome Fleischmann Digitisation™”, incl. DTL’s, Mercury, Farnham, Fenway, and Eudald: typographer.org/2005_06_01_dig… Archived version with intact encoding: web.archive.org/web/2006120111…

@TiroTypeworks @EvaSilvertant I’d forgotten that Language Culture Type used it!

Farnham (2004) by Christian Schwartz. I don’t know how it’s possible, but I only just found out Farnham is based on Fleischman! Quite embarrassing considering my love for the Fleisch of Man. Now, the connection is obvious. The ball terminal in the italic ‘w’ is a nice detail!

@SignalType @realdougwilson FYI: @Gargron/108352419081380277" target="_blank" rel="nofollow noopener">mastodon.social/@Gargron/10835…

@EvaSilvertant Halyard Display is a contemporary design with some similar details in the italics.

Empire Gothic (1910). Interesting weight modulation! Note the high contrast in ‘e’, the sturdy spur and thin lower joint in ‘a’, the forward-falling ‘S’, the almost calligraphic ‘R’, and the sharp ‘t’ with a long apex. From ‘Keystone Products’ (Keystone Type Foundry, c. 1910).

A little belated, but I'm so honored to have been asked to write the release essay for @frerejones’s incredible new type family Community Gothic that came out earlier this week! Also excited to use the typefaces in some design projects myself soon too... frerejones.com/blog/grit-and-…

@riccard0 @FontsInUse @Font_ID Right – it’s difficult to say. Maybe there was yet another alternate for A. Or maybe a sort from Semplicità ended up in the wrong case.

@hardwig @FontsInUse @Font_ID Thank you :-) So, based on the sample in the quoted tweet, it seems probable that also the publisher’s name is set with the same typeface (just with a different |A| than the one used for the city), and not Semplicità.

10th edition, 1949. The angled terminals of |L|T| (and the |G| in BOLOGNA) suggest Super Grotesk, the pointy |M|N| less so (while the publisher’s name seems to bet set in Semplicità). Any ideas @FontsInUse , @Font_ID ?

@alvaroefe @MarkFonts @koeberlin These are also included in Garamond Premier:

@MarkFonts @koeberlin Check this one: juanjez.com/typefaces/grav…