This week, I was delighted to learn from a few separate sources that [d]online was featured on the MyFonts.com home page. I have to assume that this coveted real estate is reserved for fonts that portray their catalog in a positive light and feel honored that they selected one of my typefaces to do so. I’m hoping that my second font, era404 Regular, will pop-up there at some point too.
Two quick things in reference to my new [d]online typeface.
1. American Typographers: According to this site, put together by Luc Devroye, of the School of Computer Science at the esteemed McGill University in Montreal, I’m part of the American Type Scene and featured (less than prominently) on his New York City page:
(by the way, the French example translates to “On the lap of the sorceress”)
2. MyFonts: I’m now listed on myfonts.com:
I don’t have an iPhone. And if you know anything about me, you probably know that I would never really want one. I’m on my phone too much as it is and can’t imagine creating a situation where I’d want to be on it more. I’m happy with my HTC TouchPro (though I wish it had a longer battery life) and find 99.9% of the applications that I’ve seen on the iPhone to be worthless; along with the animations, bells & whistles of the phone itself.
However, that said, I really find the myPANTONE app to be incredible. Take a look at this list of features:
Get your color inspiration and create your color scheme from these PANTONE color system libraries:
You can capture and extract colors from photos and snap to the closest PANTONE Color:
Automatically generates harmonious color combinations
Cross-reference PANTONE colors to other PANTONE color libraries
Once you have created your color palettes you can then share them in a variety of ways:
Other features include:
There’s a video tour by Glenn Fleischman on YouTube and Pantone.com. And I imagine each new version will allow designers to perform more useful and intuitive tasks. And I’m not just saying this because we built the Facebook app, either.
The only other application that I would consider to be as helpful, if my meager testing of it proved it even worked, would be the What The Font app by MyFonts.com. I don’t know if it’s the iPhone’s crappy camera or the application’s poor calibration—the application on their site also seems lacking as of late—but I couldn’t get it to suggest fonts even mildly similar to the one I was seeking.
I rarely get the opportunity to use script fonts. My dabbling in the geometric hand has, for the last ten years, been limited to IDs (see Frances Schultz) and Holiday Cards. For the most part, when hand-written fonts are used, I opt instead for the handwriting of calligraphers and illustrators within our network. Actually, the only deviation that I can think of was when we designed the Target Holiday Boat, in NYC’s Chelsea Piers, and that was a gross overuse of House Industries’ League Night (from the House-a-rama collection). And while I still absolutely love that face, which resembles more of a hoe-down than a bowling jersey, Ms. Hische’s work has always inspired me to get in touch with the feminine fontographer inside of me. Buttermilk, as well, churns this feeling. As a result of my vulnerability in this catharsis, I believe you should buy Buttermilk and as a gift for all your clients prior to the upcoming holiday season, so that they may, in turn, return to you to design their holiday cards and identities.