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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.


4Q4 End of 2016

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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!


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

 


Variable Fonts and Extensis

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An announcement last week has pretty much rocked the type development world.

An update to the OpenType specification (v1.8) was announced at a typography industry event in Warsaw, Poland called ATypI. Didn’t make it to Warsaw for the conference? Here’s a video recording of the session.

While the release of a new specification might not seem like earth-shattering news, the inclusion of “variable fonts,” and the partnership of the big players to make it happen was big news. Microsoft, Apple, Adobe and Google all came together to make the specification something that they could all get behind.

 

So what exactly are “variable fonts?”

Variable fonts can be changed along multiple “axes” – by weight, width, optical size, slant or italic. These settings can be set by YOU, the designer.

What this means is you can implement a font, say on a website, and only need to implement one font, rather than multiple faces, to get the job done. In current web development, for example, you need to script in a normal, bold, italic and bold-italic font files to cover the typical weights required in body copy. In the future, with a “variable font” you will use one font file and specify how the font needs to vary for each text element.

The result is a faster websites for your readers, and the gratitude of your IT department as your web hosting costs go down. Mic drop, slow clap, walking away from an explosion, yada yada.

 

What shall these the new fonts be called?

If you know the type development community, you already know that there are bound to be a wide variety of opinions.

Of course, we might end up having different foundries calling them different things (Variable Fonts, Dynamic Fonts, Super Fonts, Modern Multiple Master, who knows). In the end you can be sure that you’ll be getting a better product that comes in a smaller file size – no matter what the name.

 

Extensis Support of Variable Fonts

The main technological needs to support of these files comes from the major players who are already onboard – Microsoft, Google, Apple and Adobe. As support begins to be implemented, Extensis font managers will inherit much of their support naturally through OS support. We will also of course fully test and update our applications to meet the demands of the new formats.

We are also keenly interested in responding to the needs of the creative community as they evolve.

So, what features would be most helpful to you? Sliders in Suitcase Fusion and Universal Type Client that show the different variations possible? Specific metrics required reported in Extensis apps so that you can get the best results in your designs? You tell us.

We want to know what you think – drop us a line in the comments below.

 

Read More

There has been a bunch of interest in this topic in the type design community and beyond. Check out these other articles:


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There are number of common challenges all teams face when it comes to sharing and managing fonts. Suitcase TeamSync allows you to curate and distribute your font library automatically across your entire team.

This new cloud-based font server makes professional font management easy so you can focus your time and energy on doing great work.

An on demand version of our latest webcast introducing TeamSync is available to watch. Check it out:

International versions of this webcast will be hosted in September, join us on the time zone and language that are most convenient for you, or register to get the recording sent to your email:

 

England, U.K.:

  • Date: September 8th, 2016
  • Time: 11:00 a.m. BST – British Summer Time / British Daylight Time
  • Presented by: Chris Stevens
  • Register here.

France:

  • Date: September 14th, 2016
  • Time: 2 p.m. CEST – Central European Summer Time
  • Presented by: Jean-Michel Laurent
  • Register here.

Germany:

  • Date: September 15th, 2016
  • Time: 11:00 a.m. CEST – Central European Summer Time
  • Presented by: Torsten Koebel
  • Register here.

 

Hope you can join us!

 


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In a recent What’s New in Publishing article Jim Kidwell, Senior Product Marketing Manager from Extensis, takes a closer look on how typography is trending in today’s society and what it means for publishers.

What’s New in Publishing is a United Kingdom news portal focused on the Publishing industry and reports on innovative solutions; case studies and success stories relevant to publishers worldwide.

In Jim’s own words: “If you’ve been in business more than a few months, you’ve likely been building up quite a collection of fonts. Average solo design professionals have around 4,000 fonts in their collections, and the average business can easily have many multiples of that baseline number.”

Sounds familiar? In the full article Jim highlights how the increasing number of fonts launched to the market daily is increasing the number of challenges publishers and designers are facing with managing their font libraries… And, how to best deal with it!

Read the full article here: http://www.whatsnewinpublishing.co.uk/content/beyond-fad-typography-mainstream

 

Font Compliance In Publishing Best Practices Guide


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Choosing the right font style can be a time-consuming and difficult challenge. Typography experts estimate that there are over 30,000 font families to choose from. Yikes!

 

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So…how do you find the RIGHT font/typeface in an endless sea of options? Some basic guidelines might help.

 

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Handwriting fonts are everywhere these days. Designers love the organic aesthetic they convey and consumers respond to them on a personal level because of their handmade, human quality

The Pen Is Mightier Than The Sword73b3bd585a105cb36c16b7f72731eaea

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Examples of handwriting (also known as handwritten, cursive, or script) fonts

But did you know that modern handwriting evolved because of the Fall of the Roman Empire? When the Romans succumbed to invading barbarian hordes, widespread plague, and political corruption, the educated world experienced a major lull in literary and cultural works.

An Italian poet and writer named Petrarch labeled this period “The Dark Ages” and began to campaign for a form of writing that was infinitely more “simple” and “clear” than the ornate Gothic lettering which was popular with the ruling class at the time.

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Font Compliance in PublishingFonts are a critical element of every publishing workflow—improperly licensed fonts can quickly derail any creative project. But many creative professionals are still unaware that fonts are licensed just like any piece of software and covered by various laws like intellectual property, trademarks, and copyrights. More than ever before, it’s imperative that creative teams have the current and correct information about best practices in font management.

Extensis surveyed a wide variety of industry leaders and discovered the most common issues with font compliance.

Download our Best Practices Guide for Font Compliance in Publishing

Here’s a scary finding- more than half the designers surveyed bring personal fonts into the office, one of many ways unlicensed fonts can enter your workflow. This not only poses legal and financial risks, but can lead to serious layout and design issues. Document reflow issues can chip away at the profits, and will squelch the creative spirit out of design teams who put their hearts into their work.

If you’re not sure if you are at risk, or simply want to prevent your organization from facing problems, we’ve created a new Best Practices Guide for Font Compliance in Publishing. The guide identifies the risks and consequences, and most importantly, what you can do to avoid them.

Want to safeguard your organization? Get the Font Compliance in Publishing Best Practices Guide here.


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Make Fun Holiday Cards to Impress Friends & Family

There’s nothing that’s gives us the warm-and-fuzzies like holiday-inspired typography. And there’s no denying that holiday cards for friends and family are more impressive with custom typography and animation. So when you find yourself hanging out waiting for the cookies to come out of the oven, check out our free and user-friendly Fonspiration app (available for iPhone in the iTunes store).

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