Issuu by fontshopsf Search results (of 434 hits) http://localhost:7080/fontshopsf/docs/recent.rss Sun, 22 Nov 2009 18:18:45 +0000 434 0 10 bookmark-tapiah2-080825183556-b05d2942e35b42c49cba819a1254f614-1 FF Strada FontFont Focus: FF Strada http://issuu.com/fontshopsf/docs/fffocus_strada Sat, 21 Nov 2009 01:05:15 +0000 <table><tr valign="top"><td width="65"><a href="http://issuu.com/fontshopsf/docs/fffocus_strada"><img src="http://image.issuu.com/080825183556-b05d2942e35b42c49cba819a1254f614/jpg/page_1_thumb_medium.jpg" width="55" border="0"/></a></td><td> &nbsp; </td><td><img src="http://content.issuu.com/icons/label_bookmark.png" border="0"/><br /><span style="font-size: 12px;">FontFont Focus: FF Strada<br /><b>Bookmarked by:</b><a href="http://issuu.com/tapiah2"> tapiah2</a><br /><b>Created by:</b><a href="http://issuu.com/fontshopsf"> fontshopsf</a><br /></span></td></tr></table> bookmark-intermix-081022161448-93b65550151e4fc6944b222817c7da6c-2 FontBooklet No. 2 We’re not calling for a return to “the good old days”, but there are some things the early type founders got just right. In the era of metal and wood type, fonts were designed specifically for the size at which they were to be used, with subtle variations in weight, contrast, and proportion to make them as legible at 6 pt as they were beautiful at 72 pt. With the dawn of scalable digital type, any font could be used at any size, and the time- honored mastering process was abandoned. As a result, many designs suffer in this new age of convenience: display fonts are often too ornate or fragile at small sizes; text fonts are clunky and dull when set large. Fortunately, recent type design has learned from the past, and we are now seeing a return to the practice of optical size mastering. A few type families offer sturdy, readable cuts for text, and showy titling styles for the big stuff—modern technology infused with the wisdom of the originals. Here are a few of our favorites. http://issuu.com/fontshopsf/docs/fontbooklet2/2 Fri, 20 Nov 2009 16:43:34 +0000 <table><tr valign="top"><td width="65"><a href="http://issuu.com/fontshopsf/docs/fontbooklet2/2"><img src="http://image.issuu.com/081022161448-93b65550151e4fc6944b222817c7da6c/jpg/page_2_thumb_medium.jpg" width="55" border="0"/></a></td><td> &nbsp; </td><td><img src="http://content.issuu.com/icons/label_bookmark.png" border="0"/><br /><span style="font-size: 12px;">We’re not calling for a return to “the good old days”, but there are some things the early type founders got just right. In the era of metal and wood type, fonts were designed specifically for the size at which they were to be used, with subtle variations in weight, contrast, and proportion to make them as legible at 6 pt as they were beautiful at 72 pt. With the dawn of scalable digital type, any font could be used at any size, and the time- honored mastering process was abandoned. As a result, many designs suffer in this new age of convenience: display fonts are often too ornate or fragile at small sizes; text fonts are clunky and dull when set large. Fortunately, recent type design has learned from the past, and we are now seeing a return to the practice of optical size mastering. A few type families offer sturdy, readable cuts for text, and showy titling styles for the big stuff—modern technology infused with the wisdom of the originals. Here are a few of our favorites.<br /><b>Bookmarked by:</b><a href="http://issuu.com/intermix"> intermix</a><br /><b>Created by:</b><a href="http://issuu.com/fontshopsf"> fontshopsf</a><br /></span></td></tr></table> bookmark-sailetta-081022161448-93b65550151e4fc6944b222817c7da6c-8 FontBooklet No. 2 We’re not calling for a return to “the good old days”, but there are some things the early type founders got just right. In the era of metal and wood type, fonts were designed specifically for the size at which they were to be used, with subtle variations in weight, contrast, and proportion to make them as legible at 6 pt as they were beautiful at 72 pt. With the dawn of scalable digital type, any font could be used at any size, and the time- honored mastering process was abandoned. As a result, many designs suffer in this new age of convenience: display fonts are often too ornate or fragile at small sizes; text fonts are clunky and dull when set large. Fortunately, recent type design has learned from the past, and we are now seeing a return to the practice of optical size mastering. A few type families offer sturdy, readable cuts for text, and showy titling styles for the big stuff—modern technology infused with the wisdom of the originals. Here are a few of our favorites. http://issuu.com/fontshopsf/docs/fontbooklet2/8 Wed, 18 Nov 2009 05:18:29 +0000 <table><tr valign="top"><td width="65"><a href="http://issuu.com/fontshopsf/docs/fontbooklet2/8"><img src="http://image.issuu.com/081022161448-93b65550151e4fc6944b222817c7da6c/jpg/page_8_thumb_medium.jpg" width="55" border="0"/></a></td><td> &nbsp; </td><td><img src="http://content.issuu.com/icons/label_bookmark.png" border="0"/><br /><span style="font-size: 12px;">We’re not calling for a return to “the good old days”, but there are some things the early type founders got just right. In the era of metal and wood type, fonts were designed specifically for the size at which they were to be used, with subtle variations in weight, contrast, and proportion to make them as legible at 6 pt as they were beautiful at 72 pt. With the dawn of scalable digital type, any font could be used at any size, and the time- honored mastering process was abandoned. As a result, many designs suffer in this new age of convenience: display fonts are often too ornate or fragile at small sizes; text fonts are clunky and dull when set large. Fortunately, recent type design has learned from the past, and we are now seeing a return to the practice of optical size mastering. A few type families offer sturdy, readable cuts for text, and showy titling styles for the big stuff—modern technology infused with the wisdom of the originals. Here are a few of our favorites.<br /><b>Bookmarked by:</b><a href="http://issuu.com/sailetta"> sailetta</a><br /><b>Created by:</b><a href="http://issuu.com/fontshopsf"> fontshopsf</a><br /></span></td></tr></table> bookmark-sailetta-080825183328-c854ab51638c41018fdafb8e3718617c-1 FontBooklet No. 1 Free type reference from FontShop. http://issuu.com/fontshopsf/docs/fb1-us Wed, 18 Nov 2009 05:17:49 +0000 <table><tr valign="top"><td width="65"><a href="http://issuu.com/fontshopsf/docs/fb1-us"><img src="http://image.issuu.com/080825183328-c854ab51638c41018fdafb8e3718617c/jpg/page_1_thumb_medium.jpg" width="55" border="0"/></a></td><td> &nbsp; </td><td><img src="http://content.issuu.com/icons/label_bookmark.png" border="0"/><br /><span style="font-size: 12px;">Free type reference from FontShop.<br /><b>Bookmarked by:</b><a href="http://issuu.com/sailetta"> sailetta</a><br /><b>Created by:</b><a href="http://issuu.com/fontshopsf"> fontshopsf</a><br /></span></td></tr></table> bookmark-sailetta-090817184456-d8159a092f424998995f696cf73e1d51-1 Font 005 This issue’s cover story takes on the historical and cultural impressions left by letterforms that are very different from those of digital type: graffiti. Writer Ian Lynam finds that despite their disparity, graffiti and graphic design continue to influence each other and mix blood as they evolve.Heavy stuff, indeed. There’s less serious fare in this issue, too. Marian Bantjes returns to write and illustrate in hilarious fashion a long overdue critique of the alphabet. And in the Foundry Spotlight, type designers chime in with their (sometimes acerbic) takes on the topic of legibility. http://issuu.com/fontshopsf/docs/font005 Wed, 18 Nov 2009 05:17:15 +0000 <table><tr valign="top"><td width="65"><a href="http://issuu.com/fontshopsf/docs/font005"><img src="http://image.issuu.com/090817184456-d8159a092f424998995f696cf73e1d51/jpg/page_1_thumb_medium.jpg" width="55" border="0"/></a></td><td> &nbsp; </td><td><img src="http://content.issuu.com/icons/label_bookmark.png" border="0"/><br /><span style="font-size: 12px;">This issue’s cover story takes on the historical and cultural impressions left by letterforms that are very different from those of digital type: graffiti. Writer Ian Lynam finds that despite their disparity, graffiti and graphic design continue to influence each other and mix blood as they evolve.Heavy stuff, indeed. There’s less serious fare in this issue, too. Marian Bantjes returns to write and illustrate in hilarious fashion a long overdue critique of the alphabet. And in the Foundry Spotlight, type designers chime in with their (sometimes acerbic) takes on the topic of legibility.<br /><b>Bookmarked by:</b><a href="http://issuu.com/sailetta"> sailetta</a><br /><b>Created by:</b><a href="http://issuu.com/fontshopsf"> fontshopsf</a><br /></span></td></tr></table> bookmark-merttol-080825184844-1f07362988ec45da868582bc092e5e6a-18 FF Meta FontFont Focus: FF Meta http://issuu.com/fontshopsf/docs/focusffmeta_fsi__web/18 Tue, 17 Nov 2009 01:08:03 +0000 <table><tr valign="top"><td width="65"><a href="http://issuu.com/fontshopsf/docs/focusffmeta_fsi__web/18"><img src="http://image.issuu.com/080825184844-1f07362988ec45da868582bc092e5e6a/jpg/page_18_thumb_medium.jpg" width="55" border="0"/></a></td><td> &nbsp; </td><td><img src="http://content.issuu.com/icons/label_bookmark.png" border="0"/><br /><span style="font-size: 12px;">FontFont Focus: FF Meta<br /><b>Bookmarked by:</b><a href="http://issuu.com/merttol"> merttol</a><br /><b>Created by:</b><a href="http://issuu.com/fontshopsf"> fontshopsf</a><br /></span></td></tr></table> bookmark-trzask-090817184456-d8159a092f424998995f696cf73e1d51-1 Font 005 This issue’s cover story takes on the historical and cultural impressions left by letterforms that are very different from those of digital type: graffiti. Writer Ian Lynam finds that despite their disparity, graffiti and graphic design continue to influence each other and mix blood as they evolve.Heavy stuff, indeed. There’s less serious fare in this issue, too. Marian Bantjes returns to write and illustrate in hilarious fashion a long overdue critique of the alphabet. And in the Foundry Spotlight, type designers chime in with their (sometimes acerbic) takes on the topic of legibility. http://issuu.com/fontshopsf/docs/font005 Tue, 17 Nov 2009 00:21:02 +0000 <table><tr valign="top"><td width="65"><a href="http://issuu.com/fontshopsf/docs/font005"><img src="http://image.issuu.com/090817184456-d8159a092f424998995f696cf73e1d51/jpg/page_1_thumb_medium.jpg" width="55" border="0"/></a></td><td> &nbsp; </td><td><img src="http://content.issuu.com/icons/label_bookmark.png" border="0"/><br /><span style="font-size: 12px;">This issue’s cover story takes on the historical and cultural impressions left by letterforms that are very different from those of digital type: graffiti. Writer Ian Lynam finds that despite their disparity, graffiti and graphic design continue to influence each other and mix blood as they evolve.Heavy stuff, indeed. There’s less serious fare in this issue, too. Marian Bantjes returns to write and illustrate in hilarious fashion a long overdue critique of the alphabet. And in the Foundry Spotlight, type designers chime in with their (sometimes acerbic) takes on the topic of legibility.<br /><b>Bookmarked by:</b><a href="http://issuu.com/trzask"> trzask</a><br /><b>Created by:</b><a href="http://issuu.com/fontshopsf"> fontshopsf</a><br /></span></td></tr></table> recommendation-santsserif-fontshopsf fontshopsf http://issuu.com/fontshopsf Mon, 16 Nov 2009 18:05:52 +0000 <table><tr valign="top"><td width="65"><a href="http://issuu.com/fontshopsf"><img src="http://photo.issuu.com/fontshopsf/photo.jpg" width="55" border="0"/></a></td><td> &nbsp; </td><td><img src="http://content.issuu.com/icons/label_favorite.png" border="0"/><span style="font-size: 12px;"><br /><b><a href="http://issuu.com/fontshopsf">fontshopsf</a> favorite of </b><b><a href="http://issuu.com/santsserif"> santsserif</a></b><br /></span></td></tr></table> bookmark-carlosrodrigueztorre-081010000946-f0f6b267f0094d5bafafd96a6ab6ea19-1 Font 007 FontShop's latest edition of Font mag explores generative content and features some of our latest and greatest type. http://issuu.com/fontshopsf/docs/font007 Sun, 15 Nov 2009 02:30:09 +0000 <table><tr valign="top"><td width="65"><a href="http://issuu.com/fontshopsf/docs/font007"><img src="http://image.issuu.com/081010000946-f0f6b267f0094d5bafafd96a6ab6ea19/jpg/page_1_thumb_medium.jpg" width="55" border="0"/></a></td><td> &nbsp; </td><td><img src="http://content.issuu.com/icons/label_bookmark.png" border="0"/><br /><span style="font-size: 12px;">FontShop's latest edition of Font mag explores generative content and features some of our latest and greatest type.<br /><b>Bookmarked by:</b><a href="http://issuu.com/carlosrodrigueztorre"> carlosrodrigueztorre</a><br /><b>Created by:</b><a href="http://issuu.com/fontshopsf"> fontshopsf</a><br /></span></td></tr></table> bookmark-grubac-080825183556-b05d2942e35b42c49cba819a1254f614-10 FF Strada FontFont Focus: FF Strada http://issuu.com/fontshopsf/docs/fffocus_strada/10 Fri, 13 Nov 2009 07:04:11 +0000 <table><tr valign="top"><td width="65"><a href="http://issuu.com/fontshopsf/docs/fffocus_strada/10"><img src="http://image.issuu.com/080825183556-b05d2942e35b42c49cba819a1254f614/jpg/page_10_thumb_medium.jpg" width="55" border="0"/></a></td><td> &nbsp; </td><td><img src="http://content.issuu.com/icons/label_bookmark.png" border="0"/><br /><span style="font-size: 12px;">FontFont Focus: FF Strada<br /><b>Bookmarked by:</b><a href="http://issuu.com/grubac"> grubac</a><br /><b>Created by:</b><a href="http://issuu.com/fontshopsf"> fontshopsf</a><br /></span></td></tr></table>