Just Released

Our four latest typeface families have now released on Fontspring and on Myfonts.  Here are a few more sample images displaying Landsdowne Commerical,Wellmere Sans, Friendly Shaded Sans and Trivette.  We know these four projects have taken a while to come to fruition, but we think they are worth the wait.

‘Landsdowne Commercial’ is a development of one of our designer’s earlier public domain releases, ‘Landsdowne’.  All glyphs have been completely redrawn and refined.  An extensive range of stylistic alternates and ligatures have been added, as well as a completely new bold face and several forms of numerals.  Landsdowne commercial is ideal for period-inspired design work, such as posters and book covers as well for clear elegant communications.

Wellmere Sans is humanist a ‘sans serif’ typeface combining distinctive character with easy legibility. The emphasis here is on elegant simplicity and clarity. No alternate forms, no ligatures, just good simple design and elegance giving clarity and ease of communication.  Ideal for timeless presentation of information, signs, posters, computer displays and so forth.

‘Friendly Shaded Sans’ is just what the name says. It’s a chubby and cheerful Sans Serif typeface that is ideal for poster work, headings and informal design generally.

Trivette is an ‘All Capitals’ calligraphic display face, where all upright strokes are rendered as curves and where everything approaching the vertical are rendered in threes.  That’s probably as clear as mud, but the results combine charm and legibility with a decorative period air.  Recommended for poster work where a sense of dignified fun is important.

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A Family in Seven Faces, or Ready For Colour OpenType?

Here’s a sampling of the full ‘Greene and Hollins’ typeface family.  We’ve designed all seven typefaces with uniform metrics, to facilitate (for the moment) multi-coloured typography by overlaying different typefaces.

In the fullness of time we may also release these as multi-coloured OpenType typefaces.  This is technically possible to do now, but until there is worthwhile application support we really don’t think there’s much point in so doing.  Also, it has to be admitted that none of our resellers are set up to sell such exotica yet…so far as we know.

It will be interesting to see if this idea of typefaces in pre-defined colour selections takes off.  In reality this actually makes us think our current ‘overlay’ solution is actually superior, even if it is more work.  At least this way, the designer can choose the colours…

PJL

Greene and Hollins Gallery1

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Something We Did On Our Holidays…

We went on our holidays…we’re keeping where a secret for now…for a break from work, from fonts and typography generally. But then fonts and typography were always fun to us, and never work, so we ended up sketching some ideas for a new design-  these are just pencil sketches done on the hotel’s writing desk, and far from a full alphabet of capitals with nothing else thought through at all.  Never the less, we think the idea has promise.  We’re thinking of calling this one (some time in the future) ‘Barollo’….seems to fit somehow…

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All These Numbers

Where are ‘old-style‘ numerals not ‘old-style’ numerals?  Well, here’s a preview of the numeral glyphs we’ve developed for the Henrecian family:

NumbersWe’ve presented sets of numerals for four different typefaces here.  The main differences occur with respect to the ‘old-style’ numerals.  In the case of the regular and text forms of Henerecian these are exactly the sort of thing which the label old-style would suggest.  In the case of the small and petite capitals faces we’ve taken a small liberty and have designed what are in effect small/petite sized lining numerals.  We feel these are much more in harmony with the respective typefaces , and tagging them as old-style numerals will make them much more readily accessible from within the user’s applications…

 

The Virtue in Being Old-Fashioned

Ruben De Baerdemaeker of Armida Books makes many interesting points in his article “Why books look old-fashioned… and why that’s a good thing”.   In part he says:

If books are to survive and not be swept away by the digital tide, they will have to be beautiful objects – and they will need beautiful fonts. The fonts we use in books have long histories, and it seems we prefer our books set in fonts that go back to the very earliest days of printing, rather than in efficient, modern and clean type. It may be too romantic to think that the use of classical fonts ties us to that era when the printing press democratised knowledge and spread ideas. But we do not want our books to look and feel like office documents, like electricity bills – like the plentiful banal manifestations of the written word. We want our books beautiful and old-fashioned – and we want them now.

We do thoroughly recommend a read of his whole article, however.

Jolly Splendid…Encountered On Book Covers

It’s no secret that our designer, Paul Lloyd, designed an extensive range of freeware typefaces before the days of Greater Albion.  These don’t have the full character sets and all the features of Greater Albion releases, but some of them remain (in our opinion) jolly charming typefaces.  We still like to see these typefaces in use and we were accordingly jolly pleased to discover them in use on book covers designed by Samantha Press of Eggplant Productions.

Spiritual Growth by Lori Ann White makes splendid use of the ‘Lightfoot’ typeface”

Meanwhile, Shrewsbury Regular is used (in conjunction with another typeface) on the cover of Heart Starve by Patricia Russo:

We were also very pleased to spot a further use of one of Paul’s freeware fonts on television, also on a book cover, though perhaps a fictional novel, which is an interesting sort of double bluff. Seen on yesterday’s Doctor Who episode “The Bells of St. John” was a book cover typeset in Bolton (now considerably enhanced in Greater Albion’s release “Bolton Commercial”) – Summer Days by Amelia Williams, fictionally a character from the past of the series we understand, now stranded in 1930s New York, we understand…

The results are rather pleasing, anyway:

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A Project Gathers Momentum….

What do you get if you mix calligraphic, black letter and sans serif elements with a hint of something Germanic.  Well you could get many things, but one possibility is something like Blout, which we introduced briefly a week or two ago.  Things have moved along with that particular project, so here’s a sampling of progress to date:

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Americana Overlay

Albion’s Americana is now nearing readiness for release.  It will be offered in a regular form and also as a combined set of four overlay fonts, intended for multi-coloured use.  Here’s an illustrative diagram showing the four overlay faces in use together.  You’ll note that they are named for colours Red, Blue, Black and White, though of course these are only suggestions, not obligatory!

Meanwhile, we hope our American readers enjoy this little tribute…

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