Friday May 16, 2008 / Filed under: Font News
New Metallophile Sp8 Fonts Released
I released the Light and Light Italic styles of Metallophile Sp8 in 2003. The original plan was to add more weights later, but later never seemed to come. When I started getting requests from customers for more weights, I realized that had to change.
And now it has. Introducing Metallophile Sp8 Medium and Medium Italic. These, like the original Metallophile Sp8 fonts, are based on a classic sans serif hot metal face, Spartan, set at 8 points.
My concept was based on the observation that digital versions of classic typefaces look quite different from their counterparts in metal type. The metal faces, printed on plate-finish paper using letterpress printing, had a warmth and texture that was lost in the precise mathematical world of digital typography. It was not only the imperfections of ink on cast metal, it was also the proportions and spacing, which were particular to the size of type. In digital type (with some exceptions), one size fits all. In metal type, every size was custom tailored. 8 point digital Futura looks quite different than 8 point metal Futura, especially in print.
There have been some attempts in digital type at simulating the look of classic metal typefaces, such as ITC Founder’s Caslon, but rarely has it been tried with more modern sans serifs. Metallophile Sp8 Light was an attempt, but without more weights it was limited in its usefulness.
The original metal Spartan Light was paired (or “duplexed”) with Medium as a boldface on the old Linotype casting machines. With that in mind, I decided Metallophile Sp8 Medium would be the best boldface for Metalophile Sp8 Light.
As part of this process, the entire family was moved to the OpenType format, with a greatly enlarged character set, including extensive language support, a full set of math characters (based on the standard “pi” sorts of the metal type days), f-ligatures, a large set of pre-built fractions as well as arbitrary fractions via OpenType. The new fonts also include and alternate two-story lowercase “a” and alternate left quote marks, just like the original metal face. I redesigned the “ß” to give it the more traditional form, but included the more contemporary version I did in the original Metallophile Sp8 fonts as an alternate.
More weights are already in the works, which I hope to release this Summer, but I wanted to get these out as soon as they were ready.
Monday May 12, 2008 / Filed under: Font News
Metallophile Sp8 OpenType Coming Soon
When I released Metallophile Sp 8 in 2003, the plan was to add more weights eventually. Now that I am converting my older fonts to OpenType format, that time has come. These four fonts should be available soon from my usual distributors. More details to come. More weights later this year.
Monday March 17, 2008 / Filed under: Font News
Introducing Filmotype Zanzibar
Zanzibar is the second Filmotype font I’ve digitized. (The first was Glenlake.) At first glance, I didn’t think much of it. But when I started looking more closely, I realized I’d never seen anything quite like it and decided I needed to do it.
That “Zanzibar” is nearly an anagram of “bizarre” seems fitting. The surviving people from Filmotype (later Alphatype) have not been able to tell us who designed this gem, so we have no record of the designer’s intentions. Released in the early 1950s, it seems somewhat inspired by the work of Lucian Bernhard (Bernhard Tango, 1934) and Imre Reiner (Stradivarius, 1945). At first, it appears to be a formal script, but there are no connecting strokes. It would be better described as a stylized italic, similar to Bodoni Condensed Italic or Onyx Italic, with swash capitals.
About those capitals: If they were plans for roller coaster tracks, they would either be unsafe or very exciting to ride. I have rarely seen such a whimsical combination of spirals and angles. Perhaps the happy result of one too many martinis?
The overall effect—a mix of hairlines, swelling strokes, and dots—reminds me of musical notation. I kept this in mind as I filled out the missing characters. Film font designers had it easy. The original design included only caps, lowercase, numbers, and a minimal set of punctuation and currency symbols—about 70 characters. The digital version contains over 400 characters, including support for most Latin-based languages, math symbols (you never know), user-defined fractions (OpenType support required), and all the usual characters you expect in a modern font.
I also added a few alternate characters to address a design flaw in the original. The lowercase b, h, and k all have a little hook at the top that goes to the left. Unfortunately, when one of these characters follows an f or l, it causes an unsightly collision. Moving them apart only makes it worse. To address this, I created hookless versions of all three that come into play automatically when you enable the OpenType Contextual Alternates feature in your layout or graphics program.
Filmotype Zanzibar is available now at Font Bros.
Wednesday February 6, 2008 / Filed under: Font News
Introducing Lakeside
I haven’t been posting much to Notebook lately because I’ve been, well, busy. The thing I’ve been busy with is this:
Lakeside is a script face I’ve been working on for the past two years. It was initially commissioned by an independent filmmaker for use in some film titles. It’s based on the hand-lettered titles of the classic 1944 film noir classic “Laura.”
An unusual feature of Lakeside is that it has three styles of capital letters suited to different uses:
There are normal caps for, er, normal use; over-sized caps for a fancier appearance; and smaller, plainer caps for all-caps settings—something not normally possible with a script font like this.
Lakeside takes advantage of the OpenType format to put a virtual lettering artist at your fingertips. Here is the font with OpenType Contextual Alternates turned off and then on:
Notice how each letter tailors itself to its position within a word, using a different form depending on whether it comes at the beginning, middle or end. Notice also how the crossbar on the lowercase “t” seems to “know” about adjacent letters and adjusts its width appropriately. (It’s not actually “a little bit too tight,” it’s just that those words are good for showing how the magic works.)
For more information, see the Lakeside Specimen Sheet (496k PDF) and the Lakeside User Guide (1mb PDF).
Licenses for Lakeside can be purchased at Font Bros. Other venues will be added soon.
(Note: Last year I mentioned this font on Notebook when it was still under development. At that time, it was to be called “Launderette.” Unfortunately, that name was taken—twice—so I chose the name “Lakeside” instead.)
Tuesday August 28, 2007 / Filed under: Font News
Presenting Filmotype Glenlake
You could say I’m a Tim Burton fan. I’ve written elsewhere about some of the typographic anachronisms in his film Ed Wood, but I also think the titles in that film are wonderfully, typographically evocative—pitch perfect for the period in which the film is set. For a long time, though, I couldn’t figure out what the bold, condensed sans serif typeface was that they used in the titles.
I’m not easily stumped identifying typefaces, but this was one of only two times I’ve posted a query to the Typophile Type ID Board. In the end, I found it myself: Glenlake. (After I found it, I wondered if the Ed Wood title designers chose it because of the name—as in Ed Wood’s film Glen or Glenda… Could be.)
Still, Glenlake was something of a mystery. It popped up here and there in old film font catalogs, sometimes with a different name, but where did it come from? The more I looked at it, the more distinctive it seemed… a kind of Fifties precursor of Compacta or Helvetica Compressed (both Sixties designs).
So last year, when Stuart Sandler invited me to help digitize the classic Filmotype library, and I saw Glenlake was part of the library, I had to say yes. There are more of these funky/cool Filmotype faces to come—perhaps even more weights of Glenlake (it had only one)—including some really cool scripts that I’m working on.
Above: One of the original Filmotype film font machines.
Of course, the old Filmotype fonts were made mostly in the Fifties, and they pretty much only did the basic character set—caps, lowercase, numbers, and some punctuation. The digital version is being released in the oh-so-modern OpenType format and includes a complete, modern character complement, suitable for setting type in most Latin-based languages. I even threw in alternate designs for the “a” and “y”—something that didn’t exist in the original Glenlake design, but was common in Filmotype’s other sans serif fonts.
So, there you have it. Filmotype Glenlake, a digital revival of a classic Filmotype font from the Fifties, available for online purchase from Font Bros. I think it’s a heck of a font, and one that I’m proud to have helped bring back from obscurity. (Be sure to check out the other new release, Filmotype MacBeth, a bouncy, casual serif design.)
Thursday June 14, 2007 / Filed under: Font News
Proxima Nova 1.2
Proxima Nova is now up to version 1.2 with a couple of new features:
- It now includes supplemental fonts (in OpenType format) containing small caps/old style figures (ScOsf) and alternate characters (Alt) in place of the normal lowercase, figures, etc. This allows programs that don’t yet have proper OpenType support (Flash, Word, etc.) to access small caps, old style figures and alternate characters.
- Previously unencoded glyphs have been encoded (private use area) to make it easier to access glyphs via Unicode in situations where OpenType feature support is lacking.
Customers needing either of these new features who purchased Proxima Nova licenses from my site (www.ms-studio.com) may contact me at mark@ms-studio.com for a free upgrade. Please include your DigiBuy order number.
Friday June 1, 2007 / Filed under: Font News
Kinescope and Snicker Update
Kinescope and Snicker, which were released last month at Font Bros, are now available here at Mark Simonson Studio as well.
Update to the update: I’ve added a special set that includes both fonts for only $39 (basic license).
Monday April 30, 2007 / Filed under: Font News
Kinescope and Snicker Released
Mark Simonson Studio is proud to announce the release of two new display fonts: Kinescope and Snicker. Both fonts were inspired by hand-lettered titles in the old Fleischer Brothers’ animated Superman cartoons from the 1940s.
Kinescope uses advanced OpenType magic to choose the most pleasing character shapes as you type and features extended language support. (An application with advanced OpenType support required for the magic stuff.) To find out more, check out the Kinescope User Guide (1.6mb PDF).
Advanced OpenType support is not required by Snicker, but it has some tricks up its sleeve, including case-sensitive punctuation, automatic fractions, and extended language support. To find out more, check out the Snicker User Guide (1.2mb PDF).
For the first month, Kinescope and Snicker will be available as low as $29 each exclusively from Font Bros. Follow these links for more details:
June 1 Update: Kinescope and Snicker are now available here at Mark Simonson Studio as well.
Wednesday March 7, 2007 / Filed under: Font News
Three New Fonts: Update
Well, here it is the beginning of March and those three new fonts I wrote about in December are still not out. A few people have written me about this, so I should explain.
Basically, I keep getting sidetracked by client work, taking time away from finishing the new fonts. Client work has real deadlines—deadlines I have no control over. My self-imposed deadline for finishing the fonts was, by comparison, more flexible. So when push came to shove, you can imagine what happened.
The good news is that I’m on the case again and it shouldn’t be much longer. I hesitate to give a date except: soon.
Update: Kinescope and Snicker have now been released (April 30, 2007).
Tuesday December 5, 2006 / Filed under: Font News
Coming Soon: Three New Fonts
As you may be able to tell by my sporadic Notebook postings of late, I’ve been a very busy guy. Some of the things I’ve been working on I can’t talk about (yet).
One of the things I can talk about is three new fonts I will be releasing in the near future. All three were inspired by hand lettered titles in 1940s films.
Kinescope and Snicker are loosely based on title lettering in Fleischer Studio’s animated Superman films from the forties.
In both fonts I’ve ended up with something a bit different than the source of my inspiration, but I think you can see the resemblance.
Kinescope will include context-sensitive characters. For example, when a letter falls at the end of a word, the connecting stroke is clipped off. This gives settings a more natural hand-lettered look. Stylistically, Kinescope falls somewhere between Brush Script and Kaufmann Script, but more elegant than either.
Snicker is a cartoony block letter style. One of the design challenges with Snicker was to come up with a suitable lowercase—the lettering in the Fleischer titles that inspired me only used capitals. Although it is intended for display sizes, it works pretty well for text. Consequently, I’m toying with the idea of adding a lighter weight and italics. It could perhaps become a typographically interesting alternative to Comic Sans…
The third font, Launderette, is based closely on lettering used in the titles of the 1944 Otto Preminger film, Laura:
This font was originally commissioned by a filmmaker who wanted to use the same “font” in the titles of his own film. As with most films of that time, the titles were hand-lettered by an artist, not typeset.
The challenge with this font was that there were very few characters in the source lettering. Most of the characters had to be created from scratch to match the style of the existing ones. Launderette, like Kinescope, will have context-sensitive characters to give it a custom, hand-lettered look.
I hope to release these new fonts by the end of the year.
Update: Kinescope and Snicker have now been released (April 30, 2007).
Wednesday August 16, 2006 / Filed under: Font News
Font Bros.
Fellow font guy Stuart Sandler and his partner, Mike Ibach, have launched a new online font venue called Font Bros. The site has some of the same retro look as Stuart’s older Font Diner site, but unlike Font Diner, it offers a hand-picked selection of display faces from a dozen or so independent foundries (including Mark Simonson Studio).
The range of styles covers the whole gamut of type and lettering genres, not just retro. Some of the fonts (like Michael Doret’s amazing Metroscript) are brand new. They are also in the process of remastering the formerly freeware Fontalicious library, bringing it up to professional quality standards.
So, go check it out. It’s pretty cool. www.fontbros.com
Monday January 9, 2006 / Filed under: Font News
Proxima Nova 1.1 Released
The new release of Proxima Nova features a couple of compatibility fixes and more flexible access to alternate characters.
As a side benefit of one of the fixes, the Normal, Condensed, and Extra Condensed styles appear in their own font submenus. This turns out to be a better arrangement than having the whole family all in one submenu. I should have done it this way in the first place.
Alternate characters will now be much easier to deal with. I’ve set up seven “Stylistic Sets” so that alternate characters may be substituted globally in any combination. The new sets are also smarter the the original two in the way they handle the two-story and one-story lowercase “a” in the roman and italic. Again, I should have done it this way in the first place.
The update is free to customers who purchased before December 14, 2005. Customers who purchased after December 14, 2005 already have the new version.
For complete details, see this PDF file.
Thursday June 30, 2005 / Filed under: Font News
Proxima Nova Released
I’ve been working on this font family for almost 25 years. Here’s an early sketch (possibly the first one) from 1981:
Here’s Proxima Nova Bold for comparison:
The caps are a bit different from the early concept sketch (they started out with proportions more like Futura), but my concept for the lowercase has remained virtually the same all these years.
Proxima Sans (released in 1994) was my first attempt to realize that concept, and one of the first major fonts I developed. Proxima Nova, just released today, has ten years more thinking and experience behind it. It also fulfills many of the plans and ideas I had for Proxima Sans—small caps, wider range of weights and styles (including Condensed and Extra Condensed), and things I never dreamed of, like extended language support and UniCode.
If you want to know more about this new family of fonts, here are some links:
There is also a comprehensive 93-page PDF sample book. I split it into two parts in case you just want to look at the overview (the first part):
Proxima Nova Overview This nine-page introduction has complete information about the fonts with one-line display samples and a page of text samples. (420k PDF)
Proxima Nova Full Specimen This 84-page comprehensive specimen devotes two pages to each of the 42 Proxima Nova fonts—one with display showings and one with text samples and complete character set. You might want to make sure your printer has enough paper before printing this out. (2.2mb PDF)
Tuesday March 8, 2005 / Filed under: Font News
Proxima Sans Going Nova
Yes, I know. I haven’t been posting a lot on Notebook lately. There’s a good reason for this: Proxima Nova. That’s what I’m tentatively calling the new improved version of my ten-year-old Proxima Sans, one of the most ambitious font projects I’ve ever undertaken. Here’s how it looks so far:
Ever since I released it in 1994, I’ve had in the back of my mind larger plans for Proxima Sans. Small caps. More weights. Condensed styles. After some potential customers asked about such possibilities early last year, I decided it was time.
The new version will have more than new weights and features. I went over every character, refining and retooling the design, adjusting, perfecting, cleaning up. In short, this is completely new set of fonts.
| Proxima Sans | Proxima Nova |
| Released: 1994 | To be released: Soon |
| 3 weights, 2 styles | 7 weights, 2 styles, 3 widths |
| 6 fonts total | 42 fonts total |
| PostScript Type 1, TrueType | OpenType |
| 245 characters | 699 characters |
| Basic Western Latin | Extended Latin (including CE) |
699 characters? You read that right. Take a look:
All the characters from Proxima Sans are still there (even the dingbats). But there’s loads of new stuff, and every weight has all this in it, all in one font. No separate “expert” fonts needed.
In order to keep these hundreds of characters under control, Proxima Nova will be released in OpenType format. Using popular graphics software like Adobe’s Creative Suite and (real soon now) QuarkXPress, you will be able to tap into sophisticated typographic effects such as:
- True small caps
- Lining and old style numbers
- Proportional and tabular numbers
- Automatic “f” ligatures
- Alternate character designs for some characters
- Automatic fraction creation
- True superscript and subscript characters
- Automatic ordinal formatting (e.g., 1st, 2nd, etc.)
- Case-sensitive alternate forms for parentheses, brackets, etc.
- Alternate forms of certain characters to match small caps and old style numbers
- Cross-platform compatibility
As to how soon Proxima Nova will be available, it’s difficult to say. The roman styles shown here are in the final stages of completion. It mostly depends on how long it takes for me to finish the italics. Sure, I could just hit the “slant” button and be done with it. But, it’s not so simple to do it right. Best guess: Spring 2005.
6/24/05 Update: If all goes as planned, Proxima Nova will be released by the end of June 2005. I’ve updated the graphic above showing the various weights and styles to include the italics. Also, the weight and style names are slightly different than what I originally announced here in March.
6/30/05 Update: It’s available now.
Tuesday November 16, 2004 / Filed under: Font News
Font Ordering Issue Resolved for IE6
If you are a user of Internet Explorer 6 for Windows you may have had trouble ordering fonts from this site. I’m not sure how long this issue existed, but the offending code has been taken out and shot. The replacement code will no doubt be more vigilant in its duties, if it knows what’s good for it.
Tuesday October 12, 2004 / Filed under: Font News
Kandal PDF Available
A PDF type specimen of Kandal is now available on the Kandal page in the FontSales area.
Friday October 8, 2004 / Filed under: Font News
Introducing Grad
For over ten years, Grad has been trapped inside Phil Martin’s old DOS computer. Now it’s out.
Phil Martin designed over 400 typefaces from the late 1960s through the 1980s, most of them released as film fonts for the VGC Typositor and licensed exclusively to franchised typesetting houses. Grad is Phil’s first and only foray into digital type. He designed it around 1990 for his own use. He conceived it as a redesign of the classic Century Schoolbook. Unfortunately, Grad only existed in an old and obsolete font format.
In early 2004, Phil approached me with the idea of doing an outline version of Grad for general release. I set to work using laser prints of Grad provided by Phil and samples of the original ATF Century Schoolbook. The result is a family of three OpenType fonts with advanced typographic features such as real small caps, ligatures, old style numerals, swash alternates and more.
See it here and here. Buy it here.
Tuesday August 24, 2004 / Filed under: Font News
Grad Nearing Completion
In case anyone’s wondering why I’ve been posting items less frequently lately, it’s because I’ve been working on fonts. The family closest to completion is Phil Martin’s Grad. It consists of just three fonts (plain, italic, bold), but I’ve been getting a little carried away and have added small caps, ligatures, old style figures, swash characters, and even a few dingbats (see above). All of these existed in Phil’s original private version of this face which he used for a couple of newsletters he published in the 1990s. If one had a mind to, one could recreate Re:Language, Millenium Memorandum, or even Phil’s personal stationery. Yes, some of the characters in Grad are…unusual. But that’s Phil for you. Ever the iconoclast.
Some might say that Grad is nothing but Century Schoolbook in drag. There is some truth to that. And I think Phil would even agree. But looking over Phil’s output from the late sixties through the eighties, this is the kind of thing he does best. I have come to the conclusion that Phil is the George Barris of type designers. Phil’s best-known faces were redesigns, customizations, or hybrids of existing—often classic—faces. In the type world, such an approach to type design is sometimes looked down upon. Yet Phil is very good at it. He considers Grad one of his best.
Grad is an unusual font for me to develop. It’s not a design I would have conceived myself. Nevertheless, it’s turning out very nicely. I’m putting everything I know into making it a well-tuned machine that works as well for text as for headlines. In order to accommodate all the extra characters Phil designed, I’m planning to release it in OpenType format. This will mean that things like the real small caps and alternate characters will be accessible from a single font in each style. I plan to also do Grad Condensed at a later date, completing the family.
In the mean time, I have other fonts in the works, including a re-release of Proxima Sans. The new version will have more weights (lighter, bolder, and more in-between) as well as condensed and semi-condensed styles. Plus small caps and other typographic niceties. More information on this as it develops.
For more about Phil Martin, see my interview with him on Typographica or visit his personal website.
Tuesday August 3, 2004 / Filed under: Font News
Current Best Sellers
1. Felt Tip Roman
2. Mostra
3. Coquette
4. Changeling
5. Proxima Sans
6. Refrigerator
7. Goldenbook
8. Kandal
9. Metallophile Sp 8
10. Blakely
Tuesday July 13, 2004 / Filed under: Font News
Mostra PDF Samples Available
I’ve just added five more type specimen PDFs: Mostra Light, Mostra Regular, Mostra Bold, Mostra Heavy, and Mostra Black. Permanent links to these files have been added to the Mostra page in the Fonts section. Collect them all!
Tuesday July 13, 2004 / Filed under: Font News
Type Specimen PDFs
I’m finally doing something I’ve been meaning to do for a long time. I’m posting samples of my fonts as PDFs. These will be found on the individual font family pages found in the Fonts section. Now you will be able to get a much better idea of the quality you’re getting when you buy one of my fonts.
So far, I have done Coquette Light, Coquette Regular, Coquette Bold, Metallophile Sp 8 Light, and Metallophile Sp 8 Light Italic.
I will post notices here as more become available. I hope to have all of them done over the next week or so.