The Extensis Community Blog
July 28th, 2017 by Extensis
I scream, you scream… after a fruitful product launch, the entire Extensis team was screaming for Ice Cream!
We’re always looking for new ways to add value to our products and efficiency to the lives of our customers. Our latest product launch, Portfolio 2017, is an obvious and impressive result of that mindset. We engaged with a larger market, answered their questions, and added new features, helping Extensis make substantial headway in the Digital Asset Management space. Over one year of hard work and it was complete just in time for summer. Yeah!
Let’s just say the team was on fire!
To cool things off, the team enjoyed delectable ice cream treats from Scoop PDX. They relished heavenly classics such as Cookies and Cream and Chocolate, while others savored gourmet options like Vegan Marionberry, Salted Caramel, and even Root Beer Floats.
Scoop PDX schlepped their cart filled with their very own handmade ice cream to our downtown Portland location, parked it in our building courtyard surrounded by cityscape and abundant, colorful flowers. As soon as Scoop PDX started scooping, the sweet aroma of ice creamed and freshly baked waffle cones started to fill the air. Everyone was treated to scoops of ice cream; topped off by a celebratory speech to honor the team’s hard work.
Congrats on the launch and hope you enjoyed your afternoon sugar high!
Here, at Extensis, we develop font management and digital asset management software and we have a blast doing it. To learn more about what we do and our company culture, follow us on Twitter and Facebook. Interested in joining our team? Check out our careers page.
Today, we’re excited to unveil the latest version of our digital asset management (DAM) solution:
Over the past twenty years, we’ve delivered many evolutions of this product. Each time we set our sights toward the next version, the team is energized by the goals of addressing the evolving needs of organizations of all sizes, putting forth advancements that will future proof their investments, and finding ways to extend the value of DAM to new workgroups and industries. We guide ourselves by listening to our customers, engaging in the larger market, and evaluating what’s to come.
Portfolio 2017 continues this tradition.
As we rollout Portfolio 2017, rather than just laying out all the new features, we wanted to take a moment to share the inspiration behind them. So, here’s a little background on the key changes we made, and why.
New Desktop Client – Several years ago we made a few major architectural changes in Portfolio to allow it to grow, improve our currency on frameworks, and provide a more solid foundation for future growth and improvements. Included in that was an unfortunate change to drag-&-drop capabilities that, which while necessary for this migration, still left some clients with a change that was not embraced by their users. So, we brought it back along with other major new capabilities (infinite scroll anyone?) to make the user experience on the new platform even better. Welcome back drag-&-drop!
Server-Side Scripting – Even though I should not play favorites, this is my favorite new feature and goes back to a hack-day the Portfolio team held -1 year ago. One of our wise engineers decided to add in a way to create custom scripts that could do just about anything in Portfolio, leading us another step closer to the automation we all so crave in our jobs. We’re shipping with the ability to add these scripts, either created by us or you. Now that we’re finished with the delivery mechanism, we’re opening the creative floodgates for our developers and Integration & Consulting Services team to work on a few to make available. For example, a script to de-dupe and integration with popular social media platforms. We’ll share more on these soon.
Rights Management – We’ve partnered with FADEL to bring the first incarnation Rights Management to Portfolio. Not only did we pick the industry leader, but our association with the team that virtually helped create this market allows our customers with complex IP and rights for procured works to better track the lifecycle of assets in Portfolio. AND the compliance with contracts in FADEL. As assets become more complex, so must the workflow to manage them.
Advanced Smart Keywords – Portfolio has now seen the 2nd generation of our artificial intelligence (AI)-powered image recognition for automated keywording. These advancements come thanks to our partnership with Clarifai, a force to be reckoned with in the AI world. Being one of the first DAM solutions to introduce AI has put us in a unique position to get early feedback from real world use cases on what’s useful and what can be improved. In Portfolio 2017, you can now choose greater controls in number of keywords returned and languages with support for over 20 different languages (do you know the word for ‘pants’ in Norwegian? They do – it’s ‘bukser’). Additionally, we’ve added a new set of specialized categories from Clarifai; delivering more targeted keywords.
Mapping – Introducing one of the first of its kind feature in DAM where you can automatically plot files with GPS metadata on a map so you can see and search visually by point of origin. Think about photos that you or your stakeholders take which have longitude and latitude coordinates attached to them. Think inventory, events, physical assets. Now think about seeing those automatically plotted on a world map. With Portfolio’s Map View, we’re giving you more ways to interact with and get insight from your data. Bonus: all with little to no additional work needed from the user!
Advanced Asset Compression – Now for the biggest improvement in Portfolio and DAM workflows in general, we’re introducing a new compression capability which can help you save up to 95% of the space for your large image files. Whether it’s on premise on hard drives ($3,000 per TB annual average) or in the cloud, if you can compress at a 1:20 and be visually lossless, that’s going to save time and money. We’ve also built our own pan / zoom viewer that allows you to have far better zooming into the pixels of the file, whether a satellite or aerial map down to a point or even a high-resolution photo of artwork. Now you can convert files to save space and improve the viewing, so you won’t have to concern yourself as much with space issues or guess about the fine details of your image. Oh, and it’s an included feature for no extra charge.
There are a lot of other features we’ve added to Portfolio 2017 (i.e. extended support for IPTC video metadata, loads of performance enhancements) which I would deem the most consequential release we’ve done in years, or maybe ever, on Portfolio.
For more information, please visit www.extensis.com/portfolio
To see a live demo of Portfolio, join us on July 27 for our Webcast. Register here.
What do Jennifer Aniston, Thomas Edison, Cher, Andy Warhol, Steve Jobs, Steven Spielberg, Pablo Picasso, and Ozzy Osbourne have in common?
They were all diagnosed with dyslexia.
(Albert Einstein, Alexander Graham Bell, Galileo Galilei, and Leonardo da Vinci were also believed to be dyslexic but were never officially diagnosed.)
Dyslexia is a disorder that affects the ability to read, write, and interpret letters and symbols despite normal (or often above average) intelligence. Researchers estimate that 3-10% of the population is dyslexic while up to 20% may suffer from some degree of symptoms.
The National Institute of Health identified many neurological and cognitive differences that contribute to dyslexia and the vast majority appear to be caused by genetics rather than environmental trauma. Dyslexia was first identified in 1881 but didn’t become widely known until 1980. For years, dyslexics have been dismissed as “stupid” or “lazy.”
A dyslexic’s brain is perfectly healthy but the frustration associated with dyslexia can cause emotional and psychological problems that last a lifetime. A dyslexic preschooler is typically unaffected but then pressure begins to mount in subsequent years as the student fails to meet reading standards and teacher/parent expectations. Dyslexic children frequently have problems with social situations, leading to poor self-image and less peer acceptance. Dyslexia can hinder oral language development, too: Affected kids might stammer, stutter, or have trouble finding the right words.
Dutch designer Christian Boer suffered from dyslexia as a young man and decided to invent a typeface to help others like him. His Dyslexie fonts emphasize key differences in characters so that few of them are similar and/or easily confused with each other.
Here’s some of the design features that make Dyslexie easier for dyslexics to read:
Boer isn’t the only designer who believed that the presentation of text has a significant impact on its accessibility to dyslexics. In the past thirty years, many studies have been done about which fonts/typefaces increased/decreased readability.
A study by Luz Rello and Ricardo Baeza-Yates suggests that Helvetica, Courier, Arial, Verdana test high for reading performance. Sans Serif, monospaced, and Roman fonts were also favorable. Italic fonts were most difficult for dyslexics.
Other fonts believed to have “strong legibility” include Garamond, Myriad, and Computer Modern Unicode.
Herman Bouma and C.P. Legein did a study in 1977 that suggested crowding between characters limits recognition in dyslexic readers. “Difficulty recognizing letters occurs in the parafovea of the retina of the eye when visual objects are too close together in relation to their distance from the center of vision.” Based on Bouma and Legien’s findings, many type designers have tried greater spacing between letters as a way to reduce crowding and make it more readable to dyslexics.
In addition to Dyslexie, there are currently several other options available that were created specifically to aid dyslexics.
Read Regular is “designed with an individual approach for each of the individual characters.” For example, the ‘b’ character doesn’t simply mirror the ‘d’ character—each character is unique. Unnecessary details (like serifs) have been removed to create striking outlines. Ascending and descending lines are long and clean. Space inside of letters like ‘o’ or ‘g’ is open and free of clutter.
Most typefaces are tested for legibility after they’re designed. Rob Hillier refined and modified his Sylexiad (get it?) typeface based on feedback from dyslexic readers during a series of tests. He compared early versions of his font to Arial and Times New Roman. This manner of progressive testing raised questions over whether or not dyslexics read words as shapes, a core principle of type design.
OpenDyslexic is an open source typeface that includes regular, bold, italic and bold-italic styles. It’s updated constantly based on feedback from the dyslexic community and is free for commercial and personal usage. According to their site, OpenDyslexic is “inspired by Andika, Apple Casual, Lexia Readable, Sassoon, and Comic Sans.”
According to the Mayo Clinic, there’s no “cure” for dyslexia—it’s a condition that’s hard-wired into the brain caused by inherited traits—but most children with dyslexia are capable of succeeding in school with tutoring or focused educational assistance. Thanks to awareness, research, and technological advances, plenty of options are now available to help kids previously referred to as “stupid” or “lazy” achieve great things and be the next Albert Einstein. Or Steven Spielberg. Or Ozzy Osbourne.
June 30th, 2017 by Extensis
We published this article about a year ago and it was hit! So, we decided to bring this post back from the blog archives for your reading pleasure. Enjoy!
You’re probably aware of the hubbub surrounding the designer Fiona O’Leary and her new gadget, Spector. A hand-held device that recognizes text and colors in the real world, and converts them in real-time to the exact typeface, size, leading, kerning, and Pantone code, Spector has been covered in every design publication from DesignBoom to Wired to The Verge, and elsewhere. Fiona graciously took the time to answer a few questions for us.
Let’s start with your telling us a bit about your background. How did you first become interested in design and invention?
I graduated with a Bachelors in Visual Communication from the National College of Art and Design in Dublin in 2010. After that, I worked as a graphic designer at a studio called Creative Inc, in Dublin, for three years. While I was there I gained a lot of valuable experience about printing and typography. However, I wanted more of a challenge, and to do more interactive projects, so I applied to Fabrica, a communication research unit in Italy run by United Colors of Benetton.
Throughout my one-year residency at Fabrica I got to experiment with a lot of different types of projects, from UI design to urban design to product design.
I got really interested in designing physical objects, and decided to apply to the Royal College of Art in London. They had a course there called Design Products, and I really liked the sound of that. It isn’t your typical product design course; it’s split into 5 platforms, which are groups of 8 to 10 students, and lead by two tutors. Each platform has a different theme, and challenges a different facade of product design.
I joined Platform 24, which is called Object Mediated Interactions, and is run by Durrell Bishop and Oscar Lhermitte. We focused on the field of product design that connects new, digital developments with the physical environment. It was all about designing solutions that take the systems behind products—as well as their real properties—into account.
What was the inspiration for Spector? Is there a story behind it?
I came up with this idea out of frustration. When you’re designing for print, it never looks the same on screen as it does in the finalized print.
You have no idea of the scale of the page, and the typography and colors often visualize differently too. I thought, if you are going to design for print on a screen, why not start with print material? And why not make it interactive?
As designers, we always collect lots of nice samples of inspiration. I wanted to utilize these samples by making them interactive.
Tell us a bit more about Spector. How have you felt about all the publicity that it has been getting? Did you anticipate that it would go this viral?
I see this tool as a way of understanding typography, and making typesetting more transparent, by communicating invisible factors such as size, kerning, and leading. This helps educate the user about typography.
I also see it as a way of taking the guessing game out of typesetting, so that when it comes to printing your book or page from Adobe InDesign, since you took it from a piece of printed material, you already know what it’s going to look like. I see it as useful tool for students who are just starting out as a graphic designer.
That said, I didn’t anticipate it going viral at all! However, I can understand how people identify with it, as it addresses a very common problem. It is nice to see how passionate people are about it.
Why did you choose to create a physical gadget, rather than software?
I chose to create a physical gadget for two reasons. The first is more technical: it would be difficult to write software for every camera that exists on every iPhone and Android phone. It made more sense to write software for a specific camera, which we had control over.
Also, the camera needed to be at a specific focal length, to make sure that the samples that were sent over to the database would be consistent.
The second reason is I wanted to design a tool for graphic designers that would be physical. I did a lot of research into the physical tools graphic designers had before computers, and they were really beautiful. I wanted my device to hark back to those tools.
I wanted it to be reminiscent of them, interactive, and useful. Thats why the visual language of Spector recalls a loupe.
How does Spector work? (Go ahead and get technical, if you like.)
Spector’s software works as an InDesign plugin, with a live feed of the camera. The hardware connects to the computer via bluetooth.
The user presses the button on the device, takes a picture of the font with a macro camera, and matches this picture to a font database. Spector can only detect one typeface at a time (that helps with typeface recognition), however it can detect several colors at the same time.
High resolution and a sharp image are pretty essential, too. A sample has to be right-side up, as well. But beyond quality-related elements, probably the most important thing is that you have a varied sample of characters. In fact, there is a preference for certain characters: the letter O is usually not very distinctive, but a g or G can pinpoint a font from a single glyph.
Having more distinctive characters lowers the chance of Spector detecting the wrong font. In terms of memory, it can store up to 10 fonts at the same time, and 10 colors, or 20 fonts and 0 colors. Basically, it can store 20 snap pictures.
Spector uses machine learning, and it is all based on algorithms. For kerning and leading, it needs to be as horizontal as possible. Subsequently, detecting a typeface or font by the shape of the letters is the straightforward part.
Once there’s a match for a font, Spector’s metrics calculate the leading by comparing the baselines, if there are multiple lines in the sample. The kerning can be calculated by the taking the leftmost edge of the first recognized character, and the rightmost edge of the last recognized character, in a series of recognized characters.
This length is compared to the metrics to give a relative kerning size.
At the moment, Spector can only detect up to 48pt fonts, but this is something were working on as we continue to play around with different types of lenses and focal points.
Ultimately, I see it as a tool for typesetting—using books and posters and signage as your source material—rather than big billboards, as they would most likely use headline or display fonts, rather than body copy fonts.
Where do you see yourself—and Spector—going in the future? Will you be bringing this product to market?
I do hope to bring Spector to market, and am currently looking for streams of funding. There is a lot to do, but I think with the right resources this product could be kick-started in the next year or two. I envision a special type specimen book being sold with the tool, too.
As for myself, I want to keep designing products like this, products that help us understand software. I have another product—which was my other graduation project—called MIMO, which challenges our daily interaction with the process of copy-and-paste. I would like to bring this market, too, eventually.
For now, the design process is far from over. The real work is only beginning.
Spector had been my graduation project up until now, just me working on it, with some technical help from an interaction designer, David van Gemeran, so I was really making decisions simply based on what I like. Now that I am working on bringing it to market, the real roadblocks will begin.
David Berlow entered the type industry in 1978. As a co-founder (with Roger Black) of The Font Bureau, David has developed more than 300 new and revised type designs for The Chicago Tribune, The Wall Street Journal, Entertainment Weekly, Newsweek, Esquire, Rolling Stone, and many companies. He is a member of the Type Directors Club, and of the Association Typographique International. We’re so glad he agreed to participate in an especially short but sweet installment of our mini-interview series, 4 Questions 4.
1. How did you get into the business of type design?
I graduated college as a commercial artist in 1977 with a bachelor of science in art from a school that only taught fine arts. I moved to NYC and looked for a job in advertising and magazines. That lifestyle didn’t seem to fit, but when offered a job “drawing letters” at the Mergenthaler Linotype Company, that fit.
2. What fonts or type design trends are you loving these days?
All, and none. I’m not a picker. As a tool maker, I love what I’m making for others to use, and when I let it go, I love the next one. Loving the ones in the field (fonts), or what people do with them, (design trends), are for others to hash out while I look for the next ones.
3. Which of your designs are you most proud of, and why?
All… and none, following the last answer.
4. Describe your dream project.
Pride comes to my work when a user employs one of my fonts in the recommended range of sizes for that font, with other styles of that and other font families properly used for other sizes, weights, and widths, to form good typography. When the font is both apt for the purpose and adeptly used in reading, navigation or identity, I swell, quietly.
Want to learn more about the newest type trends? Download our Type Trends Survey Report and get in the know. You’ll learn the latest and greatest typographic trends that other creative professionals are using to design their masterpieces:
Top Three Ways to Build Your Team’s Font Collection
Earlier this year, I wrote an article titled “Top Places to Build Out Your Font Collection.” The article is relevant for graphic designers, as well as IT professionals, creative directors, and others in various organizations who want secure ways to build a font collection. Some fonts are marketed as “free fonts” or “open source fonts.” Do you know if these fonts are OK to use within your organization? Is purchasing fonts from a type foundry the only secure path to take? Find out in this way-back, blog reprise. Enjoy!
Typography experts estimate that there are more than 300,000 fonts in existence, and more emerging from designer’s workshops every day.
We explored MyFonts to get one example and a bit of a perspective on this number. The results blew us away. On that one site alone, you can find:
31,000 font families
4,000 individual type designers
2,000 professional font foundries*
*Numbers procured from this page.
…that’s quite a bit more than a drop down menu can hold. How many fonts are in your organization’s font collection? Is your team getting the most out of your library?
As the number of free fonts and type options ever-inflates, so does the time invested in curating your team’s collection. “Every good designer doesn’t use more than a few typefaces.” Have you heard this conviction from celebrated designer Massimo Vignelli? So, we suggest that before you skim through our list of hunting grounds for new, fun fonts, get a hold of your unruly tangle of fonts by exploring the Top Three Ways to Manage Your Team’s Font Collection including managing free fonts.
1. Free Fonts: Behance, Creative Market, Dribble & Google Fonts (Free Fonts? Wha?)
Some organizations might be apprehensive to use free fronts. However, these are some great places to see what creative people are experimenting with. You probably won’t find full-fledged font families, but you will find some fun display type. These free font sites could give your organization some new, fun, creative ideas and your designer a creative boost.
There is an extensive list of curated free font collections on Behance, each with juicy creations, new and old. With discoverable gems from an array of designers of all levels and geography, it’s an excellent place to find new ideas in type. Creative Market features over 7,000 fonts from independent creators and handpicks fonts for you based on your tastes. That’s a win-win. Also, if free is more of your price point, check out this Curated Collection of the 30 Best Google Fonts.
2. Type Libraries
One way to build your collection quickly is to license an entire library. There are many to choose from: Adobe, Ascender, Linotype.com, Bitstream, Monotype ITC, and many more offer up the option to license full libraries.
While it might not be a readily known fact, Monotype has steadily been purchasing many of the historical font libraries from around the globe. Monotype now owns Fonts.com, FontShop.com, Linotype.com, Monotype.com, MyFonts.com and more.
3. Independent Foundries
Independent type foundries, often operated by the type designers themselves, offer some real typographic gems. Typewolf brushed together a list of his 24 favorite independent type foundries after the Monotype-FontShop merger. It’s still highly relevant.
Some of the highlights include:
• The Midwesterner Mark Simonson that gifted the type world with Proxima Nova
• exljbris Font Foundry that bequeathed upon us the highly appealing, highly practical Museo Slab.
• Grilli Type, the Swiss foundry whose GT Walsheim booms at us with impressive authority
• Dalton Maag, the foundry from the early 90s whose international savviness easily translates to sleek versatility
• Renound type designer Tobias Frere-Jones is also now selling fonts directly as well.
Skim though the image below for more shoutouts to greats like Lineto, Type Together, Type Trust, Hoefler & Co. and more.
Admit it: after simply scrolling through this list, you’re ready to download a wave of new fonts to onto your computer. Before doing so, read our free Font Management Best Practices Guide. You’ll learn effective ways to manage your organization’s font collection, avoid font copyright lawsuits, and enable your team’s creativity.
Where are your favorite places to build and maintain your font collection? Tell us on Twitter @extensis.
Part Four of Creating a Brand Style Guide
The Creating a Brand Style Guide Series is written by Pariah Burke, consultant and trainer for creative, publishing, and editorial professionals.
- Part One: “Why You Need a Media-Comprehensive Brand Style Guide.”
- Part Two: “Defining and Creating Your Logo Uses”
- Part Three: Establishing Consistent Brand Colors Across Media
Design is how you look. Type is how you sound. The tone of voice used by your type is your brand’s fonts. They need to be carefully selected, faithfully synchronized, and rigorously protected as the licensed intellectual property they are.
In the previous installment, Part 3: “Establishing Consistent Brand Colors Across Media,” we discussed the importance of color as a brand asset and identifier. You learned how to start off selecting brand colors for matching rendering in all media, using print colors as the foundation. With print-ready colors in hand, you then converted them to screen-ready RGB and ultimately hex color codes for Web- and mobile-applications. Your brand colors defined, you then learned to communicate the values and formulas of those colors, and their roles within the brand, via your organization’s brand style guide.
Fonts Give Your Brand a Tone of Voice
I’ve been quoted as having said: “People respond more to how you look and sound than to what you actually say. Design is how you look; type is how you sound.” The last statement is an axiom to keep in mind as you consider the typefaces—fonts—that represent your brand. Another aphorism I’m found of is “a typeface is the tone of voice in which the mind’s ear hears your written message.” Printed text is how your brand is represented when you aren’t there to speak for it. The fonts you use to set that text provide the tone and emotional context for your printed words. As the brand manager, you should be as meticulous in choosing and controlling the fonts used to represent your brand as the colors and imagery.
Commission a Custom Font
To truly make your brand unique you can commission a custom font. A bespoke typeface would be yours and yours alone, giving your brand a unique voice. If the idea sounds far-fetched, it isn’t; it’s quite common. Adobe, British Airways, Buccellati, Domino’s, Dwell Magazine, General Electric, HarperCollins, News Corp., Sony, Southwest Airlines, and Zazzle are just a few companies who wanted signature fonts that were genuinely signature—unique and designed to the brand. Even humble Times New Roman, the ubiquitous typeface pre-installed on every computer since 1992, was a custom font commissioned in 1931 to give its purchaser, the London newspaper, The Times, an exclusive and highly readable typeface.
Extensis Volunteers at the Oregon Food Bank
Hold on to your hair nets – 26 employees from Extensis gathered today for to volunteer at the Oregon Food Bank, and we couldn’t be more honored to be sending out 9,445 meals into our community!
Extensis is a huge proponent of community service, offering employees paid time off for volunteering. Each year, Extensis gathers a team to work together at the Oregon Food Bank and this year was our biggest crew yet (including our entire management team!)
How Do You Like Them Apples?
Today’s mission involved sorting the good from the bad, ensuring only the best apples were packaged up to send off to families across Oregon. We took several 1,000 pound crates of apples and bundled them into individual mesh bags. At the end of the shift the scales reported we’d sorted 11,334 pounds… that’s a lot of apples!
Thank you to the Oregon Food Bank for having us and thank you to those unheralded volunteers who help make Oregon special. Let’s all remember how blessed we are and be sure to give back more often.
For more information on the Oregon Food Bank, please visit www.oregonfoodbank.org
Last year, after we published this article, we learned that “finding the right cursive font” is a popular topic. So, we decided to publish this post again. Enjoy!
The Perfect Cursive for Your Perfect Project
Say you’ve got a project that calls for a font that’s elegant and fancy (wedding invitation, perhaps) but you can’t find any exciting, new options in your Microsoft Word library (apologies to overused workhorses like Brush Script and Monotype Corsiva).
No need to panic—as Agent Mulder might say, “The truth is out there.”
Pictured: Helvetica Neue Condensed Light, definitely NOT a cursive typeface. But I digress…
Cursive fonts (also known as script, calligraphy, or handwritten fonts) are readily available online for download. Here are some useful resources to help you find the right font for your design (and bolster your tired collection of Word options):
Kerry Hughes at Creative Bloq lists the 20 Best Free Cursive Fonts that are “free to use commercially, not just on personal projects.”
Pictured: Debby typeface, “works well for greeting cards” according to Hughes
Font Squirrel provides some Help Installing Fonts for Windows and Mac with instructions and video tutorials for desktop and web fonts.
Microsoft has some tips on how to Troubleshoot Font Problems in Microsoft Word and also created a quick and easy way to find out which fonts come installed with various Windows products that lets you sort by product or font name.
Nicole Martinez of eHow presents Common Cursive Fonts for Mac and PC.
Pictured: Edwardian Script, available on every version of Word
You might be interested in a previous blog post we did about how to choose the right cursive font that discusses the history of cursive fonts and why they’re so effective as a storytelling device.
Creative Bloq also did a comprehensive list of best places to find open source fonts that’s pretty useful but not specifically for Word so you might need to do some parsing.
Hopefully this helps you discover some exciting new typeface options for your special event. Or at the very least, gives you some alternatives to the ubiquitous options you see every day.
Happy hunting, type nerds! Enjoy your tour of the world’s finest pangrams, including my personal favorite, “Turgid saxophones blew over Mick’s jazzy quaff.”
Want to know more about cursive? Check out our post about vintage typography in classic automobiles.
For more information on the latest font trends, take a look at our Type Trends Survey Report:
Quark recently released QuarkXPress 2017. We know that many of Extensis customers rely upon QuarkXPress for your publishing needs.
The following is the Extensis support plan for QuarkXPress 2017.
The current version of Suitcase Fusion 7 is now compatible with with QuarkXPress 2017 on macOS.
Download the new installer from the Suitcase Fusion 7 Support Page.
Run the installer and then use the Plug-in Manager to enable the new XTension. On macOS choose Suitcase Fusion > Manage Plug-ins.
NOTE: This XTension is available for macOS only at this point.
The current version of Universal Type Client 6 is now compatible with QuarkXPress 2017.
Download the Type Client installer from the Universal Type Server 6 Support Page.
Run the installer on the client machines to install the new XTension.