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Based in New York and London, Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Barnes and Schwartz, their staff, and outside collaborators, and also represents the two and their team when they work together on type design projects.
Following the redesign of The Guardian, the team headed by Mark Porter, including Barnes and Schwartz, was awarded the coveted Black Pencil by the D&AD. The team was also nominated for the Design Museum’s “Designer of the Year” prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper. Christian Schwartz, a type designer and one of the founders of the type foundry Commercial Type, lives and works in New York. A graduate of Carnegie Mellon University in Pittsburgh, Pa., he worked for a time at MetaDesign in Berlin.
After returning to the United States, he worked at type studio Font Bureau, going independent in 2001. In 2007, he and London designer Paul Barnes founded Commercial Type. The studio’s projects include typefaces for The Guardian, Esquire, T (The New York Times Style Magazine), the Empire State Building and Sprint. Also in 2007 Schwartz was awarded the prestigious Prix Charles Peignot, given to designers under 35 years of age for “outstanding contributions to type design.” He has been on the short list of the Museum of Design, in London, as Designer of the Year and was rated among the top 40 most influential designers under 40 years of age by Wallpaper.
and on Time’s list of top 100 designers. Typefaces by Christian Schwartz: FF Bau, Farnham, Graphik, Guardian, Neue Haas Grotesk, Kommissar, Neutraface, Produkt, Stag.
Ilya Ruderman, a type and graphic designer and teacher, lives and works in Moscow. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has a MA degree in type design from the Type & Media program at the Royal Academy of Art in the Hague (2005).
After completing the program, he returned to Moscow, where he has collaborated for a number of media: Kommersant, Afisha, Moskovskiye Novosti, Bolshoi Gorod and Men’s Health Russia. In 2005-2007 he was art director for Afisha’s city guidebooks, following which he was art director for RIA-Novosti, a news agency, for several years. Since 2007 he has also supervised the curriculum in type and typography at the British Higher School of Art and Design in Moscow. He has been very active as a consultant on Cyrillic since 2008.
In 2014 he founded CSTM Fonts with Yury Ostromentsky. Typefaces by Ilya Ruderman: BigCity Grotesque Pro, Kazimir, Permian (a typeface-brand for the city of Perm) and Cyrillic versions of: Austin, Dala Floda, Graphik, Marlene, Moscow Sans (as a consultant), Typonine Sans, Thema.
“Blanch is a display typeface for the Fruita Blanch brand, a family-run company that, for four generations, has dedicated itself to the cultivation and marketing of sweet fruits. “This typeface family came about from a search for a traditional font with a contemporary feel which reflected the Blanch products; artisanal recipes, adapted to our modern times.
“This is a modular typeface family halfway between a 50s style sans serif and the range of numerical characters which most labelling machines use. These are seemingly contrasting concepts which lend themselves to the creation of an atypical font. The Blanch typeface family is comprised of 6 different font weights; 3 condensed weights and 3 caps weights. They are: Blanch condensed, Blanch condensed inline, Blanch condensed light, Blanch caps, Blanch caps inline, and Blanch caps light.” Blanch is available on a “pay what you want” basis from the.
@justin – It’s a pretty quick process but it’s been long enough that the exact process used is forgotten. It was obvious at the time but I can try and cobble the memory together. (I offered via email to give the fixed files to the author but never heard back.) For fontographer, open all the fonts and jump into font info (via element menu) for each one. Under the names tab you’ll start to see some info that is missing across all the fonts (like the bold version not saying it’s bold). I have a feeling it was just in the typographic style name section but you may need to adjust the design parameters too. What to add should be clear by what you see (or don’t see) in those fields.
Once you have added the missing names/info save them all back out and you should be good to go. You can leave the other tabs (especially credits) alone as nothing needs to be changed there. Annoy me via my site if you are stuck and need me to open the originals for a proper step by step.
It’s a great font – so happy to see others making good use of it. Tibo, the font in question is the same as the site. A couple of us have contacted Atipus, the agency that created the font, and as you can see above, they said they would be working on it (not quick enough in any case, so people tend to take matters into their own hands). As Jason has pointed out, if you have an app like Fontographer, you can change the font info to the correct parameters, and it should then work on a Windows machine.
I’ve tested on a Win 7 netbook, and I’ll post more test results, just to be sure. I’ve yet to host this font to make sure. The font was not installed on the netbook previous to opening the test html, just to be clear.
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