31 May 2013

Buy smart, upgrade!

In a nutshell, our upgrade program let’s you add licenses or more family members of previously purchased fonts without re-paying for what you’ve already purchased. The benefit, in both cases, is that you can buy what you need, when you need it, without penalty. It’s also a great way to try out fonts, starting with a single weight or pack, knowing you won’t pay for those fonts again if you purchase larger packs that contain the same fonts later on.

There are three basic types of upgrades but they can be combined in just about any conceivable way. Both desktop and web fonts are upgradable but only purchases made directly through the Process Type Foundry are eligible.


1) Add more fonts from the same family
Start small, with just a single, then purchase the full family when you need a larger typographic palette. Or, for a larger family, start with a single, move to a pack and purchase the whole family when you’re convinced it’s a good fit.

Example: add more fonts from the same family

Example: Buy Capucine Basic Black for $39 and when you’re ready for more, purchase the Basic Pack 2 for $60 (normally $99 with $39 taken off since Pack 2 contains the previously purchased Black weight).


2) Add OpenType Features
Bryant, Capucine, Elena, Klavika and Seravek all have various OpenType features like small caps, arrows and multiple numeral styles. They’re offered in two flavors for different budgets: the full versions have all their OpenType features and a higher price, and the basic sets have fewer features and a lower price. If you’re not sure you’ll use all the features, start with a basic character set and upgrade to the full version whenever you’re ready.

Example: upgrade from a basic character set to fully-featured.

Example: Buy Elena Basic Complete Family for $99. When you’re ready to add the small caps to your repertoire, purchase the full version for another $100 (normally $199 minus $99 from the previous purchase of the Basic family).


3) Add computers
This is the most straightforward of upgrade options. When your team has grown or the fonts you’ve purchased are on more computers than you’re licensed for, add more easily.

Adding computers.

Adding computers, the view from the Purchase Options page for Bryant Compressed.

To add more computers, in this instance to an existing one computer license of Bryant Compressed Bold, simply choose the number of computers you’d like and ‘add’ to cart. That’s it! The previous purchase price of $39 is factored into the cost and the extra license ends up at just $4.

For all upgrades, the first step is to log into your account. Once logged in, any prices affected by upgrades will show up in blue.

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.


Thankful Site Grab
Thankful, a wedding gift registry site, with headlines set in Colfax Thin and body copy (and some display) set in Elena.


Normative
From Normative, a multidisciplinary design firm based in Toronto, Canada, a website showcasing the firm set exclusively in Colfax.


Daft Punk Cover Story
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.

Blum's Fruit Cake

Blum's - the close up.

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.

1% for the PlanetThree 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.

New Release: Klavika Display

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.

The Student Publication, Volume 35

Volume 35 of The Student Publication was designed by Michael Carbaugh, North Carolina State University Master of Graphic Design ’12.

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.

The Student Publication provides a forum for students to develop a comfort with writing and articulating an idea that might be more theoretical in nature,’ said Allen. ‘I have been trying to develop projects that give structure to creating an argument, introduce students to prominent (or not so prominent) thinkers and writers in the field and experiment with the writing process itself.’

Process 13, Casey Reas

Anchor and Elena are used exclusively throughout the publication.

While the Publication Course was new in 2012, The Student Publication has a sixty-year history. The College of Design published the first volume in 1951. Its purpose then was to act as a collection of voices, focusing on timely and important issues in the design field. Past contributors have included Le Corbusier, Mies Van der Rohe and Buckminster Fuller. Then in 2006, a group of faculty and students in the College, including Denise Gonzales Crisp, Tony Brock and Bob Burns, proposed creating the Publication Course to formalize the project’s learning objectives and student experience. Allen’s Spring 2012 class was inspired by that initial proposal.

Allen commended her students for their ability to create a framework on which future classes can build on and expand. ‘The students really rose to the challenge. They developed a fundamental appreciation for this publication as part of a larger system that not only will, but must, evolve and change in future semesters.’

Walk Raleigh, Matt Tomasulo

In addition to providing a more holistic view of editing, designing and publishing a journal, the Publication Course has expanded students’ understanding of writing’s role in design both as content creation and critical practice. Rather than marginalizing writing at the edges of the design process – either as project brief at the start or explanation at the end – Allen wanted students to experience integrating writing into the whole process: to practice writing as a method to talk about how ideas develop through various stages and to enhance those ideas through the course of a project. To further clarify the connection between design and writing, Allen built visualization and making components into the students’ writing assignments. For example, they developed concept maps to find connections among contributed content and designed interactive pieces about the publication’s topic.

Elena, up close.

A detail – Elena up close.

For Volume 35, the students approached Nicole Dotin for an interview following the public lecture she gave at NC State the previous fall. Nicole presented on type design practice and the development of her typeface Elena (used throughout the publication for text alongside Anchor for headlines). The interview appears among contributions from educators, theorists and practitioners from various design disciplines: Eve Edelstein, Deb Littlejohn, Juhani Pallasmaa, Fernando Magallanes, Casey Reas, Matt Tomasulo and Erin White. Each of the eight contributors offers his or her perspective on how design methods and processes transform and adapt to new cultural and technological contexts. The student editors wrote that they hope The Student Publication creates a dialogue about how the field currently approaches design as well as how it might evolve in the future.

‘Today, I would argue that the incredible shifts in the field have precipitated an increasing need for us as designers to reflect not just on what we are creating, but how and why we are creating and what it is adding to material culture at large,’ Allen advocated. ‘The Student Publication is an opportunity to do that.’

This fall, a new set of students began working on Volume 36: Form + Fiction to be published spring of 2013. Find out more about The Student Publication.

— Guest blogger Erin Hauber is a graphic designer, educator and Master in Graphic Design degree candidate at North Carolina State University.