Manage This

The Extensis Community Blog


Got font management needs? We’ve got answers.

SF3-FontGenius-Bundle-LP-FGWant to learn more about all of the font management applications that we carry? Here’s your chance to see them in action.

Join us for a detailed webcast where we will go through how you can use FontGenius, FontDoctor, Suitcase Fusion and Suitcase TeamSync to help speed your workflow.

You’ll learn:

  • How to identify unknown fonts
  • How to protect your fonts from corruption
  • Effective font organization, activation and usage efficiencies
  • Techniques for font sharing across multiple machines

If you register but can not attend, a recording will be emailed to you.

Register for the Webcast

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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.

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Is Typekit a Font Manager?

tkTypekit is a great service that Adobe provides for their creative cloud subscribers. It allows you to do two main things:

  1. Use a wide variety of fonts in the Typekit collection for text on websites
  2. Synchronize some of those fonts from Typekit for use with your desktop apps

Font managers like Suitcase Fusion and Universal Type Server are designed to manage your own collection of licensed fonts. They take your entire valuable collection of fonts and put them into a central location that is easily accessible by you and your team.

Typekit does not manage fonts that you have licensed or downloaded from locations other than Typekit.

There are spots where you may hear the term “font manager” in relation to Typekit. The Adobe documentation for Typekit does at times refer to the web tool that controls the download of fonts to your desktop as a “font manager.” This web tools only manages fonts in the sense that it pushes fonts from the Typekit database down to your machine, that is all.

When those Typekit fonts are available on your desktop, Suitcase Fusion and other professional font management tools automatically detect the downloaded fonts and make them available for use.

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Because the average designer has over 4,000 fonts in her collection, keeping all of those fonts available for use, while not necessarily active on the system is critical for speedy, error-free design work.

If you are interested in testing a professional font manager in your workflow, all Extensis font managers are available for use in free 30-day trials.

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As initially reported by TMZ, recording artist Cher has landed into some legal troubles for the type design used on the cover of her 2013 album Closer to the Truth.

Type designer Moshik Nadev created his work Paris Logo back in 2011 and claims that the design used on her album cover is a rip-off of his. They do seem to be quite similar, it’s pretty plain to see.

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Now, does this warrant a $5 million dollar lawsuit? That’s an interesting question.

While I’m not a lawyer, from what I understand, typefaces themselves can’t be copyrighted, but the software used to deliver then can.

So, did the person who drew Cher’s logo draw everything for themselves? Or did they take the “shortcut” and digitally copy Nadev’s work?

Most of us know that you can’t copy, share or rename a font file and sell it as your own. Maybe this type of use falls into a gray area. It depends upon how the final artwork was created.

Designers are apt to be inspired by each other, and have even been told to “stealat times.

Of course, I would not recommend that you pirate, steal or illegally download any creative work that you don’t have rights to use. As creative professionals, we do ourselves a disservice if we choose to ignore the right that others have to fair compensation for their creative work.

If you need help keeping your team on the legal straight and narrow when it comes to fonts, take a moment to check out Universal Type Server. It’s built from the ground up to help you manage font distribution and keep your team’s legal worries at bay.

Note: This story was also reported by The Daily Mail and International Business Times.

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Celebrating 2016 & the beginning of an exciting 2017: Extensis style

2016 Extensis Holiday Party at Cooper's Hall

 

An Extensis celebration means blackjack and roulette with Monopoly© money, booze, a photo booth, and karaoke. I mean, that’s all you really need to have an exciting holiday party, right? Well, that and remarkable co-workers that help round out the year and start a new one with a bang! That final ingredient was definitely on point at the Extensis Holiday Party.

 

2016 Extensis holiday party

 

The party delighted employees with great food and unlimited spirits at Cooper’s Hall, a winery and tap room. Cooper’s Hall is one of a kind with a charming, festive ambiance and wine on tap for patrons to enjoy. Yep, wine on tap.

Extensis welcomes 2017

Besides unlimited beverages, employees relished fine apps, and entertainment.

2016 Holiday Party at Cooper's Hall

2016 Extensis Holiday Party
Over 100 employees danced to holiday music, mingled with their peers, and showed their photo booth inspiration.

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Extensis holiday party 2016
…however, a few ended the night in a big way. While many had a blast playing blackjack and roulette with faux dollars, a few actually won big! Congrats to our first place casino winner, Brooks Brown, Sr. Software Engineer and our second place winner, Don Johnson, Technical Writer. Both turned the most “fake money” by the end of the night.

There were also many raffles prizes and winners, but Kris Hurrle, Support Technician, took home the biggest prize of the night: an Ipad Mini!

Extensis welcomes 2017

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Extensis holiday party 2016

Congrats to all the winners and the Extensis crew for another stellar year…and many fabulous photo booth pics to share and be proud or embarrassed of!

 

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.

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New Year’s tends to bring a few traditions you can always count on. Champagne, Auld Lang Syne—and the inevitable yearly predictions listicles. With 2017 around the corner, we’ve been anticipating these predictions and considering how to categorize and quantify what we’ve seen in the world of typography. Our conclusion for the year: track the technology and you’ll find the trends.

There are an estimated 2 billion smartphone users in the world, and the average American spends anywhere from 5 to 11 hours per day using electronic media. Unsurprisingly, typography trends have been influenced by the challenge to increase readability, aesthetic desirability, and language-accessibility across multiple media platforms. Most people in the U.S., for example, are not only using a laptop or smartphone, but a combination of many gadgets that have access to the ever-growing Internet.

Generally speaking, predictions articles fall into one of two categories: aesthetic trends and industry or functionality trends. We’ve seen technology heavily influence both. Here are five trends that we found particularly exciting to watch this year:

1. Custom Fonts

Custom fonts were a hit this year, as tech giants created custom typefaces for their latest devices. Readability was widely debated among techies, artists, and internet-users alike. Amazon created a typeface called Bookerly to decrease eyestrain for Kindle readers. Google launched Product Sans and Apple created the typeface San Francisco for the Apple Watch. Meanwhile, new tools like Prototypo and FontArk were introduced to help typographers create custom typefaces to meet the marketing, branding, and creative needs of clients who want to keep up technologically and aesthetically with these tech giants.

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Bookerly by Amazon

2. Responsive Typography

Another trend driven by increased consumer demand for readability and accessibility, responsive typography went mainstream this year—and with good reason. Not only are we spending more time online, we are doing so across numerous platforms, often simultaneously. Anyone looking to brand, market, or share anything on the Internet is now hard-pressed to ensure that their reader can do so on their desktop, laptop, smartphone, tablet, or any other tool they may be using to access information. Responsive typography has made major strides in solving for this issue, and has become more accessible to designers who must get their message across to large and diverse audiences.

 

Branding for San Francisco’s Social Innovation Week

Aurelio Sanchez Escudero designed the branding for San Francisco’s Social Innovation Week using responsive typography, bold colors, and icons.

3. Personable Font Selections: Watercolor, Handwriting, Script, Grunge, and Caps

So readability and accessibility are essential. But typography is still an expressive art form. Typographers have been tasked with utilizing technology to enhance the practicality of their art, while creating work that is inventive, fresh, and beautiful. 2016 saw an increased use of watercolor, script, retro fonts, grunge, hand-lettering, and titles in all caps.

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Most of these trends touch on how we are consuming—and, perhaps, feeling—about the greater technological advances. As we’ve spent more time on our phones and computers, and less time with older, more traditional types and texts, a sense of nostalgia seems to have grown. Some artists have been making their mark with handmade lettering, while others have paid tribute to the bright, whimsical signs and symbols of the pre-internet-boom 80s. In a time when many of us threaten to spend increasingly more time with machines than with one another, it seems that we’ve wanted to humanize our online text and media.

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4. Innovative Fonts & Accessibility

The public response to the hand-lettering craze has been significant enough to push many designers to digitize their work. These lettering trends coupled with new font technology and availability has brought the “font game” to a new level. From small foundries to larger corporations, a number of new and exciting fonts were released this year.

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Even more thrilling, artists, creatives, and entrepreneurs were busy inventing and innovating in ways that were both cross-cultural and multi-lingual. A large Norwegian study was conducted on readability for the visually impaired; Comicraft artists took on the ambitious project of inventing hand-lettered fonts in Japanese, Taiwanese, and Chinese. And two Guinean brothers hit the ground running and invented a script that would make their native language available on every smartphone. As font accessibility grows, we expect this trend in font innovation to continue.

photo-6_comicraft5. Variable Fonts

Apple, Google, and Microsoft teamed up and launched variable fonts this September. The gathering of these tech giants marks the beginning of a new age in typography. Instead of downloading separate files for every font style and width, variable fonts allow developers to place everything in one, highly optimized file. We are eager to see how and when this trend will grow, and whether it will go mainstream in 2017.

Because that, after all, is the question of the hour: What will happen in 2017? What do we anticipate? What will take us by surprise? What trends are you seeing? What have we missed? Where will the technology and our typography take us next? Let us know! And—

Happy New Year from all of us at Extensis.

 

Want to learn more about type trends? Check out Getting Free Fonts From Google Fonts.

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4Q4 End of 2016

This year we had the pleasure of interviewing type designers, foundry founders, art directors, educators, calligraphers, graphic designers, hand-letterers, and more. Our 4 Questions 4 series showcased these ultimate typographical innovators and some of their stories. We asked each artist four questions, and they shared what led them to typography, which trends they were admiring, the projects in which they took the most pride, and their dream projects.

As 2016 draws to a close, we want to celebrate the project by thanking our 4 Questions 4 contributors, and sharing a few of their excellent responses.

1.    How did you originally get interested in typography and design?

“I used to make little teen magazines as a kid – tiny folded spreads about the Jackson 5 and the Partridge Family.” – Gail Anderson 

Many of our interviewees are like Anderson; they’ve been involved with art and typography since a young age. Going back through all of our 2016 interviews, we are inspired by the number of grandparents, teachers, and friends who encouraged our budding type-stars.

Roger Black’s dad was an architect. “While grounded in history,” Black said, “my father was an individualist, and he said that good designers should have their own styles.” Alejandro Lo Celso’s father and grandfather were architects, too, and his grandmother was a calligrapher. Of his early influences, he said: “it came naturally.” Even for those designers who did not necessarily have artistically inclined families, early exposures and positive encounters with art were important motivators. Dan Rhatigan recalled: “Although I thought I wanted to draw comic books when I was growing up, my time helping with my high school newspaper really exposed a much greater love for design and playing with type.”

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Type design by Sumner Stone

2.    What typography trends are you loving these days?

“Hand lettering…. We live in such a digital world nowadays that anything made with evidence of the human hand has become something special.” – Alexandra Snowdon

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Hand Lettered Sign by Alexandra Snowdon

Many of our 4Q4 artists expressed a sentiment similar to Snowdon’s. The rise of hand lettering has been an exciting trend to follow, admire, and practice. Some of our interviewees explained it as a response to the internet boom; others cited improvements in web type and technology. “Web typography is no longer just trying to imitate print, but is developing into a culture of its own,” said Shoko Mugikura and Tim Ahrens. And Ludwig Übele rejoiced in aesthetic and functional typographic innovations. “The quality of use releases creative energies!” Übele exclaimed. Jackson Cavanaugh also acknowledged that graphic designers have been more committed to creative type. “Designers are looking for more expression and authenticity,” Cavanaugh said, “and this is opening the door for some people doing really interesting (and great) work.”

Our foundry founders and type makers chimed in as well. As a font creator, David Berlow considered his relationship with trends. “As a tool maker,” Berlow considered, “I love what I’m making for others to use, and when I let it go, I love the next one.” According to Berlow, trends are for those consuming his work to decide, while he moves on to the next creation. Alejandro Lo Celso summed up Berlow’s ideas saying, “A typeface you publish is like a daughter that leaves home and makes her own path. One day she comes back home with a boyfriend… and who knows if you’ll like him.”

3.  Which of your projects are you most proud of thus far in your career, and why? 

From window displays to experimental multicolored designs, our interviewees had ample projects to be proud of. The range of creations were impressive, and the reasons to consider them fondly were even more endearing. A few of our artists were proud of the project that most challenged them. Kyle Bean described a highlight of his career by saying: “It was an amazing experience, but also kind of terrifying.” Bean wasn’t alone in embracing fear to create an unforgettable product. Chank Diesel is most proud of his Liquorstore font, which was used on the cover of the Hunger Games and Zodiac Legacy books, “because it’s taken a long time to mature but it looks stronger than ever now.”

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Design by Kyle Bean

The struggle and the pride that comes with tackling a challenge were echoed throughout many interviews. Laura Worthington talked about Charcuterie, which she designed in 2013. “Very few collections were out at the time, and the concept of a collection was still very new,” Worthington said. She described Charcuterie’s launch as a huge risk, but one she continues to take pride in.

Artists are innovators, and innovation is driven not only by talent, but also by a willingness to take a risk, and step into the unknown.

4.    Describe your dream project.

“Hi, it’s Costa Rica calling. Would you mind coming over for some weeks to design a new typeface for our tourist board? We have a beautiful apartment for you at the sea.” – Ludwig Übele

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Erik Spiekermann with the font FF Real

 

Our artists’ dreams ranged from redesigning the information system on Germany’s highway to working with the Detroit Red Wings hockey team. Other artists were nostalgic, dreaming of finishing the first typeface they ever designed. However, on the whole, most were either content in the present or eagerly looking forward to the future. Roger Black was especially enthused about his present work. “It’s always the current project!” he said proudly. Mark Simonson felt similarly saying, “I don’t think I have a ‘dream project.’ I’ve always tended to follow my interests wherever they might lead.” David Carson mentioned enjoying projects that give him creative freedom, or a new topic or audience, but he agreed that he’s done some of his “dream jobs” already. Our future-facing artists dreamed of working with large design-conscious brands and good-hearted non-profits alike; they were excited to produce work across a series of platforms, and to get into the details of typesetting.

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Design by David Partyka

Others dreamed of travel, guided by their passion for type. “My dream project starts with: ‘And so we’re sending you to Italy for a few months…’ Enough said.” We think so, too, Anderson.

We wish each of our 2016 interviewees good luck on their current projects, dream projects, and beyond. From those who felt “inside the dream” to the artists on the brink of the next best thing, we are grateful for your tenacity and creativity and look forward to all that you will accomplish in 2017!

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Everyone in Information Technology has something to celebrate this month!

Extensis has joined forces with the International Association of Information Technology Association (IAITAM) to expand the IAITAM’s educational offerings.

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To help kick off the partnership, Extensis is hosting a webinar about font compliance:  “Fonts? You mean I have to worry about compliance there too?”.

Extensis will be providing training and educational content relating to font management and digital asset management to help IT Managers at the association develop effective solutions.

 

The IAITAM is a global organization that helps individuals and businesses in any aspect of IT Asset Management, Software Asset Management, Hardware Asset Management, and the lifecycle processes supporting IT Asset Management in organizations of every size and industry around the world.

To learn more about the IAITAM and Extensis’ Webinar, click here.

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Interview with Jay Roeder

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When Jay Roeder didn’t know an answer to a math problem in grade school, he did what he knew best: he drew a Ninja Turtle. “I still think that this was the best possible answer to the problem,” Jay told us in an exclusive interview on his work, influences, and upcoming projects. Jay is a freelance illustrator and designer who, like many artists, couldn’t keep himself from making art as a kid. His work is filled with throwback items like boomboxes and Ninja Turtles and we got to talk with him about what drives his nostalgia. He focuses on hand-lettering and has worked with a number of notable brands, including Nike, TV Land, GAP and Monster.com. He is proud to be an obsessed letterer, and he is a big fan of Extensis, retro games, sneakers and coffee. 

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Check out his interview here:

How would you describe your work and your overall aesthetic?

JAY: I love describing my hand-lettering style as embraced imperfection. Being a perfectionist, it was not until I learned how to accept the crooked lines, misaligned type and illegibility that my lettering took on character and interest. As odd as it seems, these imperfections can have just as much craft as perfection. If you look at any great hand lettering artist’s work, you will see these “errors” are not accidents at all.

How have your early influences and/or feelings of nostalgia influenced your work?

JAY: A lot of my art is nostalgia based, and some of that has to do with memories I have of growing up in Minnesota. Things like boomboxes, Nintendo, and Ninja Turtles were a big part of my childhood, which is why I can’t stop drawing them, even in a lot of the work I do today.

 

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How would you describe your journey from a “childhood doodler” to a professional artist with agency and teaching experience?

JAY: While most kids wanted to be firemen or astronauts, I knew I’d pursue a career in the arts at a young age. If you looked at my homework throughout grade school, you would think that every class was an art class because I drew racecars and ninja turtles on virtually everything. I remember one such story when I didn’t know the answer to a math problem, so I simply drew a Ninja Turtle’s head in the answer space – I still think that this was the best possible answer to that problem. When I graduated from college, I worked at several agencies and did hand-lettering in my free time. I posted drawings to my website (www.jayroeder.com) and eventually clients started to reach out with larger projects. Eventually I decided to go out on my own, which has been the best decision I have ever made. I have also stayed in touch with the design department at my alma mater and have taught design classes for them, as an adjunct professor.

How do you balance the work you do with agencies and your personal work?

JAY: Balancing my agency and personal work is one of the most challenging aspects of what I do. So many people imagine the freelance lifestyle as being extremely flexible, but don’t take into account the effects of ceaseless project demands and an always on the clock mentality. Six years ago, when I first started out on my own, I quickly realized that nothing is guaranteed in the world of freelancing. I accepted every project that was presented to me, even if it meant working unhealthy hours. On the verge of burning out, it wasn’t until about 2 years in that I really gained the confidence to say “no” to certain projects and to work with my clients on building out timelines that worked for both parties when possible.

 

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We heard that you’re an Extensis fan! How do you use the software and how has it impacted your work?

JAY: I am a huge fan of Extensis, and specifically Suitcase Fusion. It impacts my work every day, to be completely honest. As someone who prides himself on typography you can see the obvious correlation. Suitcase saves me A TON of time when I’m searching for the right typeface. I also use it as an inspirational tool when I am working on hand-lettering projects that require me to emulate a certain style of font. It’s been a great product that I have used for over ten years.

Whose work are you admiring these days?

JAY: There are so many artists that I admire, but two that stand out are Jon Contino and McBess. There are aspects of both of these artists that I find extremely inspiring, whether it be McBess’s vintage cartoon inspired worlds, or Jon Contino’s ability to combine old and new world aesthetics into his style. Please look into both artists if you haven’t and be prepared to be inspired.

Have any of your commercial projects particularly resonated with you on a personal level? Which ones?

 JAY: Every once and a while a brand that I am a fan of reaches out to do a project. In one such case – Beer Advocate magazine recently had me do the cover artwork for their 10th anniversary issue, which is currently on newsstands so keep your eyes out! Aside from that, I have worked with so many amazing brands, some of which include: Nike, Ray Ban, Facebook, MTV and Urban Outfitters. I absolutely love what I do, and I hope people can see that in my work.

 

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What advice do you have for young designers?

JAY: I few years ago I read an article on Milton Glaser, which had a very simple piece of advice, but great nonetheless. If anyone doesn’t know who Milton is, he’s an icon in the design industry; you’ve probably seen his work, he’s responsible for the “I heart NY” and Brooklyn Brewery logos. The quote was, “Do good work.” I think this simple yet fundamental advice is invaluable and can be a deadly combination when paired up with motivation. If you do good work and work hard, everything else will fall in place. Also, drink lots and lots of coffee.

You’re truly living the dream, having transformed your passion into an admirable career. What’s next for you?

 JAY: I am so fortunate to have a career that is also my passion. The plan is to continue to grow my business and see where it takes me!

Check out Jay’s website: www.jayroeder.com

And follow him on Instagram and Twitter: @jayroeder

 

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Alejandro Lo Celso is the founder and princpal type designer at the font foundry PampaType, the very first digital type foundry in Argentina, which pioneered the latest wave in Latin American type design. PampaType’s broadly recognized and internationally prized designs are handcrafted following visual, rather than mathematical methods. We’re so glad that Alejandro joined us for this latest edition of 4 Questions 4.

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1. How did you originally get interested in typography and design?

Typography is the encounter of design and literature. I’ve always thought that typography was my safe escape from the commercial world of graphic design. But when I recall my family stimuli, I realize it all came naturally. My grandmother had a taste for calligraphy: she used to draw in fine blackletter on all the title pages of my mother and her brothers’ schoolbooks. And she loved literature. My mother became a historian, and now she paints. On the other side, my grandfather was an architect and an artist, and my own father is an architect too, and an urbanist. I find myself playing in between all these universes.

2. What typography trends are you loving most these days?

I’m not particularly interested in trends; they change too quickly. I prefer to think of typography as the materialization of more perennial words. I love books and reading, and I love the idea of creating typefaces that are comfortable to read. On the other hand, a typeface you publish is like a daughter that leaves home and makes her own path. One day she comes back home with a boyfriend… and who knows if you’ll like him.

3. Which of your projects are you most proud of thus far in your career and why?

garonne_specgaronne_expoThere are several. As a teacher I’m proud of having run many workshops and courses in many places. I think I’ve been a privileged apprentice to those experiences. I led the small team that created Garonne, a tailored type system for the city of Toulouse in France. That was a wonderful and quite unusual experience.

In 2013 we were invited by a Mexican art school to put together a large exhibition of our work in type design. The gallery was approximately 2,000 square feet, we had only 14 days to mount it, and had to coordinate the efforts of 20 people who kindly came to help. It was a great success in the end.

PampaType is now growing our type library on a collective basis. A great challenge for me today is taking care of the work of other designers, and trying to help them reach their highest capabilities.

4. Describe your dream project.

That’s a hard question to answer. I guess I don’t really dream of the unreachable, the far beyond. I’m currently working on a type system for the public university here. That is an awesome project that I didn’t imagine I’d ever do, one day. I could say it is a dream project, but actually I am inside the dream!

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