Antenna RE, a square-styled sans serif, joins its namesake’s extensive list of weights and widths for both print and web. Broad proportions and open spacing as well as the large and consistently-shaped counters add to Antenna RE’s calm deliberation and good readability. Antenna RE is contemplative and suave. Its repetitive forms make it a steady choice – no matter how small.
Apres RE is a geometric sans serif based on the Apres type series that David Berlow and Font Bureau staff originally drew for the Palm Pre smartphone. The letterforms are round and balanced, the spacing crisp. Apres RE cites geometry without feeling overly simplified or mechanical. Its light structure with a distinct bold deliver an approachable, intelligent voice well-suited for text and navigation.
Benton Modern RE is a small-size web adaptation of a modern serif. Its print and web relatives have roots in Morris Fuller Benton’s great news faces like Century Expanded. Close up, Benton Modern RE bears wider letterforms, larger counters, and thicker strokes so that it reduces clearly on the web. Still, its vertical contrast and elegance exude a sophistication especially suitable for editorial texts.
Benton Sans RE echoes the adaptability of its print companion from Font Bureau, a redesign and expansion on Morris Fuller Benton’s American grotesque News Gothic. To accommodate the requirements of small text on screen – similar to those of agate type used in newspaper listings – Benton Sans RE has broader proportions and adapted spacing. Benton Sans RE is frank but considerate, a straightforward sans serif of exceptional versatility.
A light interpretation of Font Bureau’s beefy 16-style slab serif family, Giza RE translates the display-focused Egyptian into four styles for legible body copy. Its wide letterforms, linear strokes, and large interior spaces make Giza RE resolute and lively but not flippant. With hints of durable typewriter faces, Giza RE lends itself to less formal applications or anything that requires a bit of fortitude.
Ibis RE is a continuation of Cyrus Highsmith’s square serif explorations, Ibis Text and Ibis Display, inspired by Walbaum’s rational letterforms and Melior’s superelliptical shapes and sturdy serifs. Ibis RE’s regularity and generous spacing contribute to its calm and harmonious appearance, making it a pleasure to read at small sizes. Ibis RE is confident and reliable without being buttoned-up.
Poynter Serif RE, an oldstyle serif, draws on the seventeenth-century romans of Hendrik van den Keere and follows research sponsored by the Poynter Institute to create an optimally readable text face. In contrast to newspapers’ common demand for economic proportions, Poynter Serif RE has generously wide letterforms while retaining its bookish feel. This together with its large x-height make it also well-suited for agate text in print. Experienced and competent, Poynter Serif RE brings tradition to small text on screen.
With Turnip RE, David Jonathan Ross created a typeface with an energetic tension between squarish inner and round outer shapes to give it vigor and strength. Turnip RE is rustic but not unrefined – an easygoing face with texture and charm. Part of the larger Turnip series, Turnip RE is slightly wider with less stroke contrast than the regular styles. Even set very small, its large appearance offers reading matter by the mouthful.
Scout RE grew out of the Scout family Cyrus Highsmith originally designed for Entertainment Weekly. Compared to other sans serifs in the Reading Edge series, Scout RE is narrower and more generously spaced, making it ideal for user interface design or small labels, and a perfect match to Ibis RE. Large, oval counters – inspired by typefaces such as DIN, Venus, and Cairoli – contribute to excellent readability on screen. Scout RE is economic and adaptable, the apposite choice for everyday use.
The limitations of today’s screen-based media impose many restrictions on web typography. Even if a designer understands these limitations, the large majority of typefaces available for web use were not designed for that purpose. Crafted with the same level of care as the rest of Font Bureau’s library, the Reading Edge™ (RE) series is a collection of web fonts that helps alleviate this tension between refined typography and the screen.
The Reading Edge typefaces were designed from scratch specifically for small sizes on screen. Small type on the web faces problems that hinder onscreen readability. Details that are critical for legibility can be easily lost when reduced to sub-pixel sizes. Clarity is also sacrificed with low resolutions. Additional “hinting” data can be embedded in fonts, instructing how to bend each glyph to fit the pixel grid at different sizes, but hinting alone can’t guarantee legibility. The underlying design of each letterform is essential, especially in rendering environments like Mac OS X that ignore hinting data. Font Bureau’s RE typefaces do more than take these limitations into account. The RE fonts are carefully produced with the restrictions of web typography guiding each step of the process.
Reading Edge typefaces may start small and stay small, but they also address the need for cohesive palettes of typefaces on the web. The RE typefaces are named and styled to correspond to existing typefaces in Font Bureau’s print and web libraries to help facilitate brand consistency across various media. The fonts also pair well with other typefaces of the same genre, filling the need for legible choices in every size range.
In developing the Reading Edge series, Font Bureau designers drew inspiration from several key precursors for readable type.
The Linotype Legibility Group type families were developed under the direction of Chauncey H. Griffith in the 1920s and ’30s for high-speed newspaper presses and absorbent newsprint. Features like generous x-heights, sturdy serifs, and low contrast between thick and thin strokes aided readability and held up to heavy ink and letter distortion. Shorter ascenders and descenders increased the page economy by allowing more lines to be set in a tighter vertical space. Like the Reading Edge series, the Legibility Group was intended to work under harsh technical constraints and pair well with other headline typefaces.
Georgia and Verdana are two of the most prevalent typefaces used on the web because they were developed specifically for the screen. Without the need to save paper on a physical page, Matthew Carter drew his letters wider than most body typefaces for print and provided generous spacing between them. Large x-heights again increase readability at small sizes, and short ascenders and descenders prevent lines from intersecting even when set close together. Based on similar principles, the Reading Edge series joins Georgia and Verdana’s world of web fonts for small sizes.
The Readability Series is a group of print typefaces from Font Bureau that provides newspapers with diverse alternatives for page composition. Its graded text faces offer lighter and heavier versions of a typeface to compensate for specific printing process or paper stock. The Readability Series includes fonts suited for headlines, as well. Like the RE fonts, the Readability Series was designed for crude output conditions and shows special consideration for small text as an integral part of larger typographic palettes.
The anatomy of an Reading Edge typeface relates intimately to its onscreen readability. With careful hinting to optimize rendering in a multitude of environments, RE typefaces can survive down to 9px, if not smaller. Even though the typefaces in the Reading Edge series span a variety of classifications, several features are common to their construction.
Reading Edge typefaces exaggerate the glyph features (serif, tail, etc.) of their respective classifications so the genres are convincing and recognizable at small sizes and low resolutions.
Compared to other related styles that weren’t optimized for small sizes, the Reading Edge typefaces have larger clearances between letter features, reducing cases where forms close in on themselves.
Since every pixel matters for legibility, RE typefaces maintain moderate stroke weights for small sizes. By keeping the most important letter features above a minimum size, the danger of losing personality at low resolutions is reduced. Even with a Reading Edge modern serif, thin strokes will not disappear when type is scaled down.
Page size limitations from the print world are less relevant with type on screen. For small type sizes, wider and more open letterforms with ample letter spacing are easier to read.
Taking a lesson from its precursors, the RE typefaces sport larger x-heights than their companions. This shift in proportions means that type appears larger and is easier to read even when set at the same pixel size. As a result, designers can choose from a greater number of type sizes for the job.
As is often the case in typefaces with large x-heights, the ascenders and descenders of the Reading Edge typefaces are kept short, allowing the most important parts of the letters to occupy as much of the body size as possible without causing crashes from neighboring lines of type.
Denver, Co Terms of the deal were not disclosed, but reports from financial experts pegged a recent slew of acquisitions between $70–$80 million dollars. The acquisition of SITca, in particular, shows that XKPC is ready to take crucial moves to secure their place in the global market of gold and dog poop
Daniel Fox, XKPC’s Chief Executive also commented, “We are always looking for growth opportunities. Adding the technologies from SITca to our current offerings made perfect sense us”.
Of course the dealings between the companies wasn’t a big surprise for some economists like Frank Thompson who predicted such an aqcuisition would.
It’s been another rough week with broiling heat in the Midwest, continuing the region’s more than 50 years. The National Weather Service issued advisories across multiple counties, with temperatures reaching as high as 109°F.
One of the less obvious affects of the recent heat wave is the price of ham, bacon, and other pork products. During extreme heat waves, pig farmers are forced to rent their hogs fancy hotel suites with room service. Because hogs like to eat, this ends up costing a lot of money.