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I'm having an issue with ExtraBold weight, which is the last one in row I kerned for an font family.
Beside it, there is Light, Regular, SemiBold, Bold and ExtraBold.
All weights have same UPM, same values for ascender, descender, Caps height, x-height... everything is same in all weights from field Font Info > Metrics and Dimensions!
For some reason unknown to me (this happens the first time), ExtraBold is displayed like it's done in ~1500 UPM, bigger, with top part of glyphs cut off. While other weights look normally, as it should!
When I install ExtraBold and try it in Illustrator, Photoshop, Word... it matches with the rest of weights, so no any visual difference (in height, position or anything like that).
Does anyone know what might be the reason for this?
I'm after a cheap, or a free slab serif. with open counters, low contrast, a good x-height making it very legible for academia. A neutral look, with understated curves. Preferably with Light, Regular, and Bold styles.
Although I once had college-level schooling in fontography, my skills are time-blunted. Please help me to locate the name of the ascender-/descender-modified font in the logotype. I am thankful for any help you can give.
Picture of label here.
Please help me to understand how UPM is related to ascenders and descenders. For example, look at Times New Roman (TTF) metrics, UPM = 2048 (see image below).
I used to believe that UPM = Ascender - Descender, but now I find that I was wrong. But what metrics expression must be equal to UPM? What plus what (or minus what) must give exactly 2048 in this example? I don’t see appropriate values at all. Help me to clarify, please.
WOBURN, Mass. Dec. 8, 2010 – Monotype Imaging Holdings Inc. (Nasdaq: TYPE), a leading global provider of text imaging solutions, today announced it has acquired Ascender Corp., a privately held font provider with long-standing relationships with several leading brands including Google and Microsoft, for $10.2 million in cash and stock, net of acquired assets. The acquisition enables Monotype Imaging to broaden its font intellectual property offerings and gain significant typeface design and development talent.
Ascender today announced an agreement with Hallmark Cards to distribute fonts from the distinguished Hallmark Design Collection, a premium set of script and lettering-style typefaces. Each Hallmark font contains the quality, innovation and care that are reflected in the Hallmark brand.
The Ascender type development team collaborated with Hallmark to produce the fonts in TrueType and OpenType formats, and is making the fonts available today for licensing and instant download from Ascender’s font websites, including AscenderFonts.com and FontsLive.com.
Boston, MA and Elk Grove Village, IL -- August 19, 2010 -- The Font Bureau, Inc. and Ascender Corporation today announced Webtype.com, a new venture to serve web designers and developers with publication-quality fonts to improve the typography and readability of websites. The service is available now at http://www.Webtype.com with a variety of custom web font options to accommodate websites of all sizes.
In the past, technical issues limited how fonts could be used on websites, but a lot has changed in the last couple years. Web designers have probably heard about new options for using fonts other than the handful of “web-safe” choices like Verdana and Georgia in their web designs.
Elk Grove Village, IL -- July 13, 2010 -- Ascender Corporation is pleased to announce that the Canada Type font design studio has come to a font distribution agreement with Ascender.
Rebecca Alaccari and Patrick Griffin founded the Toronto-based Canada Type back in early 2004. Since its establishment, Canada Type has created a variety of high-quality typefaces popular with design professionals and creative enthusiasts. The Canada Type fonts have appeared on everything from large corporate projects to small personal design work.
I have a couple of unrelated type questions:
1. What is the reasoning for having ascenders exceed caps height, is it just a style or does it help when reading small copy or large bodies of text?
2. When developing a sans inspired Hebrew character set, is there any reason to develop an italic set as well? From what I understand, Hebrew has no true italics, but are italics used with any frequency in modern day text settings using Hebrew?
3. What's the reasoning behind some Small Caps exceeding x height is it just preference depending on the dimensions of they typeface or is it just about aesthetics?
Elk Grove Village, IL – June 9, 2010 - Ascender Corp is pleased to announce that the award-winning fonts from TypeTogether are now available for licensing from Ascender. The TypeTogether font collection features a range of text and headline typefaces designed for the professional design and publishing market. Ascender is making the fonts available for end users to download from its www.AscenderFonts.com website, and also for licensing to its software developer and hardware manufacture customers for including in products.
Ayita Pro is a cheerful new sans serif design by Jim Ford of Ascender Corp. Ayita is a Cherokee name which translates to 'first in dance' and recalls the exuberant rhythm and flow of these 14 new typefaces. Originally conceived as an upright italic design, the Ayita typeface family remains contemporary, friendly and elegant yet hard working.
Elk Grove Village, IL – April 14, 2010 – Ascender Corporation, a leading provider of advanced font products, announced a new web fonts service on its www.AscenderFonts.com site to appeal to web designers and web developers.
Elk Grove Village, IL -- January 26, 2010 -- Ascender Corporation, a leading provider of advanced font products, today announced two font software distribution agreements. ClubType and Nick's Fonts represent the latest type foundries to offer their high quality TrueType and OpenType fonts to Ascender's broad based of customers, ranging from creative professionals to software and hardware developers.