Our Colfax has been finding a home for itself on the web as of late. You won’t find tiny type in this lot of featured sites, but generous sizing that gives the type room to breath and shine. Below are a few websites using Colfax to great effect.
From Normative, a multidisciplinary design firm based in Toronto, Canada, a website showcasing the firm set exclusively in Colfax.
Watch your screen burn in this Pitchfork cover story on Daft Punk, with headlines set in Colfax.
Lettering is so often composed of perfect, soaring curves. Never a hair out of place. So, I was delighted to run into this tin that once held fruit cake from Blum’s, a well-loved San Francisco bakery closed since the 70s.
The overall tone of the lettering is quick, fluid and slightly textured with a bit of angularity thrown in particularly at the baseline. When you get to the letters at the end or beginning of a word, say the B and s in Blum’s, things take a decidedly idiosyncratic turn. The angularity and texture is magnified and (dare I say it) the shapes feel slightly awkward. But, it’s those gestures that add such charm and warmth to the piece, a reminder that surprise and consistency are often perfect bedfellows.
For a closer look at the lettering, check out a full-sized detail on Flickr.
Three years ago, we became members of 1% for the Planet. Whenever
you see their logo, on a product or website, it means that company pledged to donate one percent of their annual revenue to environmental non-profit groups.
Besides helping build a healthier planet, a key benefit of the 1% program is that member organizations are audited every year to confirm they are donating their pledged amounts. When you purchase goods from a 1% for the Planet member, you are assured that one percent of the sale goes to an environmental cause, and that
includes fonts licensed directly through the Process Type Foundry. (Licenses purchased through our resellers still factor into our donation but at a smaller percentage depending on our royalty rate.)
For 2012, we donated to the seven organizations listed below. We’re excited to see what they accomplish in the coming year and are grateful for their work.
Customers have asked and we’ve always agreed – why doesn’t Klavika have a Black weight? Or an Extra Light? Good questions. Those lead us to wonder, what about an Ultra Black or a Thin as well? Why not fully explore the weight range, expand on the original and add something new? Sounds like the start of a great project!
And with that, Klavika Display was born. Available in four weights – Thin, Extra Light, Black and Ultra Black – and two widths – Standard and Condensed – the family is an addition to the existing Klavika and Klavika Condensed families. Although designed as en extension of the original series, Klavika Display works equally well on its own as a boastful display font. Singles, packs and the complete family are available in both desktop and webfont formats.
In the spring of 2012, eight students at North Carolina State University’s College of Design participated in a new course to curate, edit, design and publish The Student Publication, a journal that reports on important issues in the field of design. While they had the support of Dean Marvin Malecha, FAIA and were guided by the expertise of Assistant Professor Tania Allen, the students (Michael Carbaugh, Dwight Davis, Eric Flood, Anna Gonzales, Craig Maxwell, Rebekah Zabarsky, and Leigh Anne Zeitouni) managed every aspect of the project including selecting and inviting contributors, authoring content, designing the publication and managing its promotion. The result, Volume 35: Transformation: New perspectives on design methods and processes, was printed and released this fall.
Assistant Professor Allen was asked how building a course around the well-established publication enhanced the students’ learning experience. She explained that a dedicated course provided time and space for students to sit, think and discuss the strengths and weaknesses of a potential topic and whether it merited an entire issue.Continue reading...
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.