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Since our September issue, almost two dozen producers of type have added their work to the nearly 500 foundries already in the MyFonts library. Melle Diete is a designer and illustrator in Berlin, and studied typedesign at FHP, the University of Applied Sciences in Potsdam. Another exciting addition is Matthieu Cortat's Stuart Pro, released through his foundry Nonpareille. Mogtahid is Algerian designer Nasri Abdallah's font foundry, and he brings us four experimental faces and the promise of many more in multiple alphabets. Many of our newest members come to us with only one or two releases, but a promise of much more. Hiekka Graphics, the child of Finnish designer Ossi Gustafsson, brings us the very fat slab face Akimoto, ideal for extremely powerful and authoritative display work. Bulgaria-based Fontfabric brings us three faces that are in many ways counterpoints of each other. Utah-based Lettering Delights gives us a bunch of new faces, including many manually distorted and handwritten fonts, such as the narrow upright Absurd, curly Honeydukes, monoline Softy and many others; this enormous collection contains lots of animated and aggressive display faces for just about any informal use you can imagine. Tim Barnes, a graphic designer in the UK who does print work for contemporary art galleries, brings us the Chicken Fonts foundry and an exciting first release in the childish and funny Picklepie, which begs to be used in a brightly-colored layout; it would be ideal for children's books and any similar use.
The spiky and gothic blackletter Authentic Ink is the first release from designer Florian Schick, and was recently published in the excellent new book Fraktur mon Amour.
The scrawled, natural handwriting font Palma (which contains numerous ligatures and alternates designed to make it look more like real handwriting), puffy Doll & Dollbats, and the abstract picture font Anymals are the first four releases from FaceType, a Viennese foundry created to market the work of designers Marcus Sterz and Andrej Waldegg. The number of new faces this past quarter from established MyFonts foundries is truly awe-inspiring. Several recent additions are notable, principally the new faces from Massachussetts-based calligrapher Arthur Baker, the accomplished designer of beautiful calligraphic faces like Duckweed Sans and Hiroshige Sans and the more well-known Baker Signet, Kigali, and Sassafras. Ludwig Übele is a recet graduate from the Royal Academy of Arts (KABK) in Den Haag, and is the designer of the very successful and original Marat text family.
Arabetics, a small foundry in New York City, specializes in Arabic and Arabetic (extended arabic) typefaces. 066.Font's Piotr Wozniak, usually the producer of in-your face distressed display faces, steps out of character with Longinus Pro, an antique script straight out of 14th-century incunabula.
Talk about knowing your audience: Michael Stirling's The Fontry brings us two new items, one of which is marketed specifically at fraternities and sororities.
Quebecois designer Charles Leroux, principal of the Grype Type foundry, recently finished what is certainly one of the spiniest and most dangerous typefaces on MyFonts. Informal, comic-tinged faces were also present: Pink Broccoli's 5 new fonts include the brush-lettered Lil Rhino and the jumpy Hip Hopper, and the Sideshow foundry presents the curly and spixy Savage Hipsters, hot-rod inspired Weird Bill and several others from the fabulous fifties.
James Arboghast, the Australian type designer who succeeds whether tackling historic forms (his Pykes Peak is one of the best Frank Lloyd Wright-influenced types ever digitized), informal scripts or the most modern display type, is back with Jabberwub and Soft Serve, rounded faces seemingly made from jelly, and Big Noodle Titling, a tall, condensed all-caps sans ideal for huge display use, available in upright, oblique and block-titling (ideal for layered multi-color settings!) variations.
Ray Larabie (aka Typodermic), late of Canada and now residing in Japan, continues to supply attractive and useful type in an incredibly wide array of styles. Among more than 30 additions from Jeff Levine are display faces in a variety of historic 20th century forms.
TypeArt's large selection of historic revivals and original designs has grown significantly larger with almost 30 additions.
Ricardo Esteves Gomes' Hachura is an interesting and unique case: each letter is made up on sketchy lines, but the general proportions of the letterforms are based on Garalde models. Jack Yan & Associates bring us several additions that are anything but old-fashioned, including the mannered but slightly rough-looking Novalis and the pointy Flax. Typetrust has Facebuster, one of the boldest and blackest slab-serif display faces ever designed, and their three variations on the Cooter family are equally big and bold, but curvy and cartoony where Facebuster is serious and masculine.
Cameron Moll's letterpress-printed posters showing the front view of the Salt Lake Temple are the talk of typographers everywhere, and if you've ever printed on a flatbed cylinder press (the printer pulled these on his Vandercook Universal 3), you know how difficult it can be to to get this sort of even impression on such a large form, even if one is printing from photopolymer. Typographica breaks its months-long silence with Stephen Coles' fair and balanced article on marketing and selling one's own type, and the pitfalls and benefits of various ways of approaching this problem.
Finally, if you haven't already, please visit Daily Type, a showcase of interesting work - from polished commercial pieces to one-off sketches - by a group of Russian type designers.

This issue of In Your Face was written by Joshua Lurie-Terrell and designed by Nick Sherman. We have scoured the web and found a number of calligraphy style fonts which we think you might like to use in PerfectTablePlan for your plans, charts or stationery. If you copy a plan file to another PC you will need to copy any non-standard fonts it is using. Web Typography was for a long time the black sheep of web design; Verdana, Arial and Georgia everywhere. Even though there were some approaches to the issue like sIFR, FLIR or cufA?n, which are often complicated to install and bring up new issues (non-selectable text, flash and or javascript required), the perfect solution wasna€™t found yet. Thanks for this post it was a good read, do you have a twitter account that we can follow you on? This quarter, we have more new type than ever, both from new foundries as well as from designers who are already established with MyFonts. This beautiful and flexible text family contains faces in three optical sizes and a variety of weights, making it ideal for book and newspaper designers and others looking for a cohesive type solution throughout a wide range of publications. His first release is Bowen Script, inspired by the persistent demands of editors for scripts which actually looked like real handwriting, a lot of historical fiction projects and a love of maps. It includes small caps and ligatures as well as accents and special characters for typesetting a wide variety of Eastern and Central European languages. Blou, a very unique fat slab meant for large display work, is powerful and strong, while Snail is all fine lines and delicate curves; the third and newest of the three, Cubic is an interesting 3-weight experiment with isometrics.
Tim's daughter Lydia came up with the basic letterforms at age 6, so it certainly speaks to a certain age. Found Receipt is based on type Risso discovered on found paper ephemera, and is most useful when set large. Argentinian designer Victor Garcia is no stranger to type design, and has released a number of other faces, including Ole for Neufville Digital and several fonts for Linotype, but GarciaToons is his first foray into self-publishing. Baker has brought a dozen new faces to MyFonts, some of which are redrawn and reconfigured versions of his most popular designs. His newest release is Walhalla, a novel and very modern approach to the uncial: available in a serifed regular as well as a sans (making it one of the few gothic uncials ever produced); rarely is a mixture of modern shapes and historic style so successful, but perhaps Walhalla will instigate a revival of uncial use in graphic design!
Corinthia, Oh Ley, Ruthie, Petemoss and the more formal Imperial Script all contain the bounciness and quality you expect from this veteran calligrapher's catalog, which includes several of MyFonts' best-selling scripts. Packed with alternates and ligatures, swash beginning- and end-of-line characters and accents, it's all you need to recreate your own historical manuscript. Four fonts chock-full of skulls, biohazard symbols, radiation warnings and other scary stuff, it will certainly be useful to the Department of Homeland Security and other folks who make their living keeping us safe — or, as others might say, keeping us scared. Rendezvous is an all-caps display face reminiscent of the most painfully sharp wrought iron ever devised, and the large character set includes accented characters and a pi glyph that looks more like a medieval weapon than anything mathematical. Brian Bonislawsky's Good Eatin, from his foundry Astigmatic, is a fat tasty treat and would be even more delicious when set really large; it includes fractions and a large range of accented characters for multilingual typesetting.
Solo's many clipart books, Arturo is an angular stressed sans available in a range of weights and numerical figures. Prop-a-ganda brings us a new beautiful and very solid display face, Bravos, inspired by Italian advertising and political propaganda of the 1930s through 1950s; finally, Scholtz Fonts brings us a number of African- and Mediterranean-influenced faces, including the heavy Bongani and the extended round display face Aplomb.
Andinistas, masters of fractured and damaged type, bring us Diad, and Doubletwo Studios has XXII Streitkraft, a 4-font stencil family that includes distressed styles. Far more than a simple facelift, the new Myfonts is an all new machine: the new site offers easier and much more complete previews, a simplified shopping cart system, customized searching, a greatly expanded user-defined tagging and rating system, easier access to foundry and designer information, and plenty more. We are, of course, biased: we'd urge most designers to bring their type to MyFonts, especially now that our newly-designed site has become a superior marketing tool to any other distributors' online offering, but Coles does a good job of analyzing various reasons why some folks might want to choose an alternate path.
Publishing regularly since September 2004, it's a worthy addition to your daily RSS feed or list of regularly-read blogs. We found them on font websites and have packaged them together as a free service to our customers and anyone else that wishes to use them.
Whatever the theme of your event it is likely that there is an appropriate font out there somewhere.

If you are new here and like our blog you might want to subscribe to our RSS feed or E-Mail Newsletter to always stay up to date. It allows you to link to fonts in your CSS-file, just like you would do it with an image, and use them like regular fonts the end user has installed on his computer.
The fonts feature all sorts of styles (serif, sans-serif, grungy, script, comic, blackletter, etc.) and you should be able to find something fitting for most web project you will work on. There is a multitude of converters out there that will help you to get every font-format you need. Its amazing to see what CSS3 can do , at the same time its sad a lot of customers still want IE support which sucks at CSS3 big time.
The large character set includes accents and special characters for setting type in many different languages, lining and old-style numerals, ligatures and other goodies. Hopefully this will open the door for other new designs based on historic type — we'd certainly like to see more from Andrew! Abdallah has been a very active member of Algeria's graphic and type design community since the early 1960s and today, as a 56-year-old grandfather, pours his energy primarily into research and type design. The six weights of this tall, narrow display family are an exceptional accomplishment for a type designer of any age or experience level.
It works equally well at large and small sizes, and can be reduced significantly without losing detail or legibility. Designer Svetoslav Simov is an accomplished branding and identity designer, and his ability to mix organic curves with geometry is a rare trait; hopefully his future releases will be just as surprising and original. Designer Paul Lloyd answers with an initial release of three elegant faces, chief among them Edwardian display faces Helenium and Bromwich; various other bits of type (and a Christmas-themed dingbat face), all original designs based (sometimes loosely) on historic specimens, round out the varied collection. Available in three styles (expressive mice, cats and rabbits), this family of animals is sophisticated, stylish and funny. Check out the redrawn New Pelican, New Oxford, and the under-used and beautiful New Marigold; the cartographic Mercator, or the many new calligraphic symbols and swashes he's recently offered up.
Klinkopis' large character set is jam-packed with Roman and Cyrillic alphabets and multiple alternates for both languages, and is an excellent solution for bilingual advertising and other display uses.
Minnesotan designer David Bergsland's eponymous foundry includes ligatures, alternates, a set of dingbats and a few other interesting additions to this clear and readable sans. Other additions include the workhorse grotesk Niteweit, the wide and mechanical Firenza family, a very original stencil face in Mediocre, and the big fat Sunday Best, which includes various types of shadow that would be especially useful in multi-color settings.
Some of the 'taller' fonts may not be ideal for use in floor plans as only 1 line of text will fit within a seat. We provide them as-in and can accept no responsibility for any issues arising from their use. The letters have been carefully designed to flow together and interact with each other so well that your customers will probably think you created their design by hand.
Lydia, MyFonts' youngest designer, is very excited that people all around the world may be using her font.
Saad Dean Abulhab's newest release is the condensed upright Layal font, available in five weights and accompanying italics; its slight calligraphic flavor never overwhelms its eminent legibility. It includes all required Lam-Alif ligatures (as well as the Allah ligature) and uses OpenType glyph substitution for ligatures and selected marks positioning. Wherever possible we have included any licensing information with the fonts - please read it.
If you have any questions regarding copyright or what constitutes commercial use you should contact the font author, not us.

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