Type-Ø-Tones' typefaces at the Adobe Typekit Marketplace
In conjunction with its annual Adobe MAX conference, Adobe today announced the debut of the Adobe Typekit Marketplace. This radical expansion of the Typekit cloud-based font service allows end users to license and pay for individual typefaces, moving beyond the subscription model. The Marketplace introduces a diverse group of type foundries and exceptional typefaces to graphic designers on a massive scale. Type Network has signed on as a launch partner in the new venture. And as we are partners of TypeNework, some of our typefaces are there too.
If you want to read about this event in deep, we highly recommend you to explore these links
«Multi no es una sans-serif al uso»
Cercana, humana y novedosa. Así es Multi, la última tipografía de Laura Meseguer. Hablamos con ella para saber cómo nació y se desarrolló esta sans-serif tan particular.
La necesidad de rediseñar unos periódicos holandeses de carácter semanal y regional fue la oportunidad perfecta para desarrollar Multi, la última tipografía de Laura Meseguer. «El grupo editorial de estos periódicos holandeses encargó el rediseño a una agencia de periodismo que, a su vez, contactó con Luis Mendo, director de arte y diseñador de revistas y periódicos en Ámsterdam», nos cuenta su creadora. «Fue él quien me llamó para encargarme la tipografía que tendría que formar parte de ese rediseño», señala. Podéis leer la entrevista entera aquí
Major updates for 3 classic fonts
DESIGNAL was originally published in 2002 as the first typeface in our collection specially designed for signage and packaging. The new version contains numerous visual adjustments, as well as a redesigned uppercase that incorporates interesting variations in a 'unicase' set. Felix Rufín has worked on rationalising its extensive pictogram collection.
JOOST, in its third incarnation, originally published in 1995, has abandoned the original modules to obtain a better relationship between the different styles. The new set of characters incorporates Central European, stylistic set for capital letters and an OpenType Features repertoire.
MEMIMAS is one of the most veteran Type-Ø-Tones projects (1991) and, among its technical constraints, a project that demands constant evolution. The updated version 4.1 incorporates alternative Uppercase characters (in Script and Sans versions) and automatic ligatures for the lowercase that will appear as Contextual Alternates; as well as numerous improvements in drawing, redesign of characters and OpenType features.
7º Encontro de Tipografia.
The 7th edition of the Typography Meeting is a conference hosted by CIAUD – Research Centre for Architecture, Urbanism and Design, based at the Faculty of Architecture (University of Lisbon). “Rhythmus” is the general theme of this edition– term that we can associate to measure, order, proportion or simply to what flows or moves.
They challenge the typographic community – designers, researchers, teachers and students – to share projects, research and reflexions. They hope that this background subject will encourage the dissemination, reflection and debate in the various areas in which typography works: type design, editorial design, printed typography, multimedia typography, typography associated to products and typography in architectural spaces.
Laura Meseguer has been been invited to participate as a keynote speaker together with Marina Chaccur, Jorge Silva, Manuel Sesma and Mario Feliciano.
25–26 November. Lisbon, Portugal
The Design of Multi
Multi is Laura Meseguer's first extensive typeface family. The process of design started as a custom work, developed later and released now as an extended and versatile system for print and screen. It was originally commissioned by the publisher of Dutch regional newspapers in 2011, with the aim to match the serif typefaces (Lexicon by Bram de Does and Tiempos by Kris Sowersby) used for a comprehensive layout overhaul project supervised by editorial art director Luis Mendo. The keywords provided by the client were unequivocal: warm, dynamic, optimistic, friendly, human… Like most of Laura’s typefaces —Rumba, Magasin, Lalola—, vitality bursts forth from Multi. It has a distinctive ‘phrasing’ (in the musical sense), neither humanist nor glyphic, somewhere in between, exploring uncharted territory. Its design is pragmatic, yet not rigid, slightly tinged with tiny incised touches.
Visit the mini site!
Since the completion of this first version, Laura has considerably expanded the character set and the family, and implemented a few modifications.
Multi™ is available in two series: Multi Display and Multi Text.
Multi Display consists of seven roman weights with their italics: Thin, Light, Regular, Medium, Bold, ExtraBold, and Poster. Multi Text consists of three roman weights with their italics: Regular, SemiBold and Bold. All the fonts comprise special characters designed for specific language requirements. They are optimized as webfonts, and the Multi Text fonts are manually hinted. The main purpose is to bring a fresh and strong personality to print and online publications.
Sturdy and fancy bold and breezy, Multi can transform words and sentences into bangs and whispers!
El festival Blanc siempre organiza un pre-Blanc y este año lo hace de una manera novedosa: el Blanc Versus. Dos equipos seleccionados por dos profesionales del sector del diseño gráfico y la ilustración. Óscar Germade y Juanjo Sáez serán los responsables de una amistosa competición donde cada uno presentará su propio equipo de ponentes.Un outsider, una promesa emergente y una figura con trayectoria en su ámbito profesional serán las características de cada uno de los tres ponentes seleccionados para cada equipo. El próximo 27 de Octubre Josema Urós, escogido por Óscar Germade, dará una charla en el #BlancVersus. Allí nos vemos!
Qandus, the result of the Typographic Matchmaking in the Maghreb Project (TMM3)
The ‘Typographic Matchmaking in the Maghrib’ consists in the 3rd edition of the multi-script typographic research project of the Khatt Foundation. The goals of the Typographic Matchmaking projects are to nurture cultural dialogue and help develop indigenous design skills. In this edition, a group of European (Dutch, Spanish, French) and Arab (Lebanese, Moroccan, Tunisian) designers researched and developed tri-script font families that combine Arabic (in the Maghribi Style), Tifinagh and Latin scripts harmoniously. Both the Maghribi and the Tifinagh scripts have not been fully explored in contemporary digital fonts, though they harbor a wealth of aesthetic variety and expressive potential.
Qandus Original is one of the three tri-script type families of the TMM3 project. This team was composed by Kristyan Sarkis (for the Arabic), Laura Meseguer (for the Latin) and Juan Luis Blanco (for the Tifinagh).
Qandus Original shown in the styles: Regular, Medium and Dark
The design of Qandus is inspired by the Maghribi style manuscripts by Shaykh Muhammad b. al-Qasim al-Qandusi, originally from Algeria, migrated to Fez, Morocco in 1828. Qandus Original consists of the design of three atypical weights related in a conceptual way: Regular, Medium and Dark—from written to drawn—as a mixture of solid and fluid estructure.
In his work al-Qandusi offered a total new world of forms and textures, a goal that we also tried to achieve when designing the three scripts to be able to work harmoniously. At the moment the Qandus Type System is composed by three fonts, but the system will be expanded till nine fonts. Stay tuned!
A sample of Qandus Original Dark in the three scripts: Arabic, Latin and Tifinagh