If you happened by the FontFeed recently, you’ll find an interview with Process Type Foundry partners Eric Olson and Nicole Dotin by Yves Peters. Go ahead, read the words. Sometimes, though, we just want to ogle the pictures. Here are photos from the interview along with extended annotations, outtakes and some extras.
Eric and Nicole standing in the doorway of the Process Type Foundry studio.
In our hearts, Chrono will always be called Chrono. However, we inadvertently crossed paths with another similarly named font and decided the name needed to change. So Chrono,
Residents of the Twin Cities will recognize the name Colfax as one of our city’s leafy, mostly residential streets. Consequently, it runs directly parallel to Bryant, another street-turned-font-name in our hands.
Already licensed Chrono?
There’s nothing you need to do except note the name change. You’ll still be able to upgrade to larger packages or add additional licenses but under the new name Colfax instead.
Similarly, Typekit users with Chrono already loaded in their library don’t need to make changes either. The fonts will function the same and the name won’t change to Colfax unless you republish your kit. If you’re using the default CSS selector (tk-chrono-web), this will still work after republishing, too.
We’re always on hand to answer questions, just get in touch.
As fans of J.J. Abrams, co-creator of the television show ‘Fringe,’ we were tickled by this tiny use of one of our typefaces in the show. From the episode ‘Everything in Its Right Place,’ the in-car communication and navigation system is branded the property of Fringe Division using Klavika, appropriately and soberly set in all caps.
We’re pleased to announce the release of our new typeface Colfax. At home within a range of design environments, Colfax is a refined oval sans serif of twelve styles ranging from Thin to Black with matching italics for each. Singles, packs and the complete family are available in both desktop and webfont formats.
Colfax was formerly named Chrono.
When I want to share something with someone these days, I send a quick email or a tweet. My time is often limited and my attention pulled in multiple directions so I’ve come to value the quickness and ease of communicating by digital means.
Yesterday though, my mom sent me a recipe hand-written by my grandmother who passed away some time ago. Even though she sent it by email, the minute I saw my grandmother’s handwriting a flood of memories came to me about her – her sizable collection of shells, the tiny Keds she wore, her love of a particular shade of green that pervaded the interior decor of her home and the game Boobytrap I used to play only at her house. All of that, from just her handwriting.
Her writing style was utilitarian and deliberate probably stemming from her days as an elementary school teacher. Certainly nothing remarkable. Those letterforms were uniquely her own though – a combination of her culture, how she learned to write, her personality, career, age and all the other aspects that create a person’s distinct hand.
In a world saturated with digital messages often conveyed by an assortment of repetitive and preselected typefaces, writing creates a direct link to the person and not just the content. Send out those tweets and status updates, but don’t neglect to write it down every now and then.
It’s 2012 already but before we say goodbye to 2011 entirely, there were tidbits from the last 365 we don’t want to forget. And while we’re at it, we’ve included a preview of typefaces slated for release in the New Year.
It took me five years to develop Elena. During that time, my constant companion was what we have taken to calling ‘the stack.’ Standing roughly a foot tall, the stack is a chronological collection of laser prints used to test Elena.
Sadly, after a couple of studio moves, the current stack only dates back to 2009. Luckily, 2006, ’07 and ’08 are somewhere. Test documents never get thrown away, only stored absentmindedly awaiting future serendipitous discovery.
Long hours were consumed poring over each and every test document to continually refine the typeface. Some tests are set in stone like the archetypal ‘a b c’ run through. Others are created on the fly to test a particular character, language or typographic convention. Sometimes, they’re just gibberish.
Whatever happens to the stack in the end (shoved into a box and stored in the basement?), it’s a tangible testament to the effort and thought process of a typeface.
We’re pleased to announce the long-awaited release of Elena from type designer and Process Type Foundry partner Nicole Dotin. Designed specifically for text and extended reading, Elena is a contemporary text face well suited for magazines, books and editorial design. Pairing the inspiration of the broad-nibbed pen with a desire for a modern page color, Elena is a face of economical proportions, moderate x-height and spare details.
Available in Regular and Bold with accompanying Italics, each style of Elena is replete with the necessary features one would expect for proper text work like small caps, case sensitive forms and a diverse range of numeral styles including those specifically for small caps. Basic versions start at $39 and full versions at $75.