Comic Code is a monospace version of the classic and "over-hated" Comic Sans.
Comic Code was designed by Toshi Omagari and published by Tabular Type Foundry. Comic Code contains 14 styles and family package options. The font is currently #21 in Hot New Fonts.
I'd make a screenshot of it in vivo, but apparently they want money for it. Read the rest
National Park is a free typeface from The Design Outside Studio based on the "National Park Service signs that are carved using a router bit." Studio founder and University of Kansas design professor Jeremy Shellhorn was visiting Rocky Mountain National Park when inspiration hit. He writes:
I had a sketchbook with me and took some rubbings of the letterforms and asked my friend Miles Barger, the Visual Information Specialist for Rocky, if he had the typeface. He asked the sign shop. No one has it? Turns out it isn’t a typeface at all but a system of paths, points and curves that a router follows.
The router’s "bit" follows the path and gives the letters its stroke weight or thickness only when engraving a sign.
It doesn't really exist as a typeface unless a sign is made.
So my design colleague, Andrea Herstowski, students Chloe Hubler and Jenny O'Grady, NPS Ranger Miles Barger and myself decided to make this router typeface a thing.
Our National Parks belong to the people, so this typeface should too.
Helvetica Now is Monototype's new typeface created for today's screens. Read the rest
It's not just nostalgia. Blame high DPI displays, too!
Today’s movement toward fonts reminiscent of the ’70s is partly a matter of advancing technology, Jen says: As phone and TV screens have improved, designers don’t have to worry as much about pixelation when working with curves. But nostalgia is a powerful factor, too. Elizabeth Goodspeed, a graphic designer who works at the branding agency RoAndCo, believes that for many consumers, ’70s-esque fonts represent a safe retreat into the past — a safer retreat, importantly, than the one currently offered by midcentury Swiss Style, which inspired all of those minimalist startup logos with its grid layouts and sans serif fonts.
The recent use of 70s type in corporate branding is showy in a way that suggests a fad rather than a sustained trend, but such a trend does exist toward more utilitarian typefaces from the era. You might be seeing a lot of Windsor, Souvenir and chunky Caslons in the next few years. However ugly and cheesy you might consider all this, it's a merciful antidote to 2010s tech culture anglegrinding every logo into the same sort of bland, soulless sans-serif font.
Dotsies is a typeface that abandons the latin alphabet completely in favor of dots. Not pixelated letterforms, like a pixel font: seeemingly random agglomerations of noise. It looks like something designed to be seen by machines, like QR codes, but which would remain human-readable to those in the know. [via Jeff Atwood]
How much better is it? It is significantly more horizontally condensed than normal fonts, letting about twice as much fall within the area of your field of vision that perceives fine detail. As to overall space efficiency in practice, the jury is still out.
This sounds hard It's easier than you think. There are only 26 letters. Numbers and punctuation aren't altered.
The linked demo page is set up to let you accomodate yourself to dotsies by scrolling down the page. ZALGO!!
Spoiler: a mix of corporate vanity and to avoid recurring licensing fees, though Arun Venkatesan elaborates a complex trend.
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Sadly, much of the justification behind typefaces from some very admirable companies is quite shallow. I can’t help but feel that some of these companies wanted a custom typeface simply because that’s what everyone else is doing. This cargo cult mentality that is so prevalent in design is at best wasteful and at worst illegal.
Viznut created a set of bitmapped Unicode fonts for use on your bulletin boards.
Years ago, I noticed that Unicode had a bunch of pseudographic characters that could be used to enrichen Ansi art. However, no one seemed to use them. Even MUDs that used the 256-color Xterm palette and had no issues with Unicode still preferred to stick to the blocks available in the MS-DOS codepage 437.
After looking into existing Unicode fonts, the reason became obvious: the implementation of non-CP437 graphics characters was shaky at best. Unicode Consortium doesn't even care how pseudographics are implemented. It was a kind of chicken-and-egg problem: No commonly accepted Unicode graphics font, no Unicode art scene; no art scene, no font support. The idea of an art-compatible Unicode font was born.
They're based on fonts from the Commodores 64 and Amiga, the Amstrad CPC, the IBM PC's original ROM font, and iconic Atari arcade fonts. Read the rest
Obviously it won't do if you hand in work digitally, but old-school teachers will surely be fooled by Times Newer Roman, a clone of the default font that fills about 10% more space. A clever mix of wider letterforms and kerning is at hand, and you can be sure of getting away with it because if teacher knew enough about type to notice they wouldn't be insisting on Times New Roman and page counts in the first place. [via Lifehacker] Read the rest
Web Typography Resources is a list of apps, tools, plugins and other stuff that will help you make words look nice on the world-wide web. Highlights include Bram Stein's typography inspector, Monotype's new SkyFonts webfont management service, and Matej Latin's book Better Web Typography for a Better Web. [Amazon]