We’re happy to announce that yesterday Underware joined Type Network, a group of independent type foundries and individual type designers. Let us explain why we think this is a good idea. The type world changed a lot in the past decade, and joining forces with kindred spirits is a good push in the right direction. For example, currently it ain’t always easy for some designers and other font users to find the right typeface. Not everybody takes the time to follow all font releases, make a list of personal favourite font foundries, or invest lots of time in selecting the right typeface for each project. And that ain’t always easy. It’s a jungle out there. Type Network can help to clear to that path. Visit one place, and find a limited selection of fonts, but with a range wide enough to meet the most versatile demands. We’re in great company at Type Network, the wheat is separated from the chaff, so you don’t have to worry to buy a pig in a poke. Besides, we know many of the people in and behind Type Network for many years, and they are good people. Or as the Dutch say “goed volk”. And for many more reasons we’re excited for this new adventure.
A new monospaced font* and Responsive ASCII* are a nice start to celebrate the ASCII+ week, so let’s get one level deeper. Notice the differences between these 2 trees? The image on the left is old school ASCII art, the one on the right is made with our subpixel technique. The resolution is nine times higher, although the point size of the text based visual art remains identical. Pretty sweet, if you ask us. How this is achieved is explained in the article From ASCII Art to Subpixel ASCII+ Art, a must-read for ASCII art & monospaced fonts lovers. No time to read all that? Get your hands dirty with the ASCII+ Art Generator, and play. This tool has been optimized for Zeitung Mono, so the results will always need to be displayed in Zeitung Mono.
We’re happy to announce the latest news on web typography. Every wondered how to recognise poor web typography? Why is it that micro-typography on the Internet lags centuries behind? What is the connection between text lines and Laurel & Hardy? Why is web typography actually a misleading designation? This newspaper tells in a nutshell what designers should keep in mind when deciding on typography for web users, including key design-elements and often overlooked facts.
24 pages full of typographic wisdom and experiments. Everybody who designs for screens should read why web typography sounds good, but looks awful, so get your own Zeitung newspaper.
Why wouldn’t ASCII art, being over 50 years old, adapt itself to modern times? We are all familiar with ASCII art and we all know responsive websites. What happens if these 2 are combined?
We released a monospaced version of Zeitung yesterday, and we all know that monospaced fonts & ASCII art are a match made in heaven. Therefore our website has a new homepage, using responsive ASCII. Resizing the window will offer the full experience: the text size which displays the ASCII art remains the same, independent of the window size. As a consequence: the resolution increases once the window enlarges.
Zeitung Mono is the monospaced companion to the Zeitung family, a sans serif which works well in small sizes on screen. This monowidth font family increases the functionality of the Zeitung font family, resulting in happy programmers, smiling ASCII-kids, razor-sharp journalists and finally: worldpeace.
Zeitung Mono is everything a contemporary monospaced font needs to be. A good monospaced font has a fancy italic for unmistakable distinction & lots of weights which supply a broad typographic palette. So you may guess once what Zeitung Mono has. Right, exactly that. Say hello to Zeitung Mono.
Introduction offer: Let’s Mono Together
Order Zeitung Mono complete, and get a free license for a friend.
This introduction offer runs until 31 July 2017.
For all ASCII lovers, and those who love to be surprised: next week, from 26 to 30 June 2017, it’s Underware’s ASCII+ Week. Microsoft wrongfully declared ASCII dead in the end of the 1990s. As real ASCII-kids it’s finally time to show our love. Every day some ASCII news. Stay tuned, more on Monday.
The associations a font has and the emotions it can evoke, are culturally defined. They change through time, vary around the world, and sometimes vary from one country to another. Recently our typeface Bello became associated with politically progressive movements in Ireland. The reason why this happened has been described by Robin Fuller in this article in the Dublin InQuirer: How Bello Became The Typeface Of Protest.
The Internet = cats. Pictures of cats. Videos of cats. GIFs of cats. Whatever, as long as it’s cats. Since a while all 3 our studios have The Internet at home. Our studios in Den Haag & Helsinki had a cat for some time, but in Amsterdam it remained pretty silent. But when the kids & partner vote for a cat, and Bas votes against, it’s a good democratic habit to end up with 2 cats. Because the difference between 3 pro votes and 1 against, is exactly 2. Yep. Those same kids don’t have a clue what Twitter (our only social media behaviour) or Facebook is about, but think that The Internet = cats = Instagram (or Snapchat). Because we have The Internet now everywhere, we decided to create an Instagram account, just to add some cats photos. And some lettering.
These are exciting times in the font world. “Variable fonts” are the magic words in type technology these days, and interpretations of its meaning interpolate from one extreme to the other. This new, evolving technology offers as many possibilities as well as challenges and problems. Therefore this is the right time to question future conventions. At least, this is what we tried last Saturday in our talk If you want something new, you have to stop doing something old at TypoLabs, Berlin.
Within less than an hour we’re exploring the options of just 1 interpolation axis. And what happens if there are 26 axes to play with? And hey, what happens if we put 241 axes in the game? You probably can’t imagine yet what these possibilities are. And what can happen if you add the remaining 63759 axes to the game? How much could actually fit in a font? How intelligent can letters be? And aren’t there any other ways to design type? Or to use type? Questions, questions.
Note: because the word ‘variable’ should of course be differently pronounced every time, we’re already practising for next time.