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“I’ve always been fascinated by the classical forms of the inscriptional Roman capital,” Richard Lipton admits. “The inner workings of their structural shapes reflect the tools that made them, and what’s achieved by this is a near perfect balance.”
The conceptual underpinnings of the Canto family stem partly from Father E. M. Catich’s seminal analysis of the Roman inscriptional letterforms in The Origin of the Serif, which makes a compelling case for the theory that the monumental Roman inscriptions, like Trajan’s Column for example, were initially written with a flat brush on to the stone as a model for the stonecutter to then follow, and that the serifs and contrast structure of the Roman square capitals derive from this brush lettering.
Lipton, inspired by the idea of this development, began tracing its path — first with a preparatory brush style, followed by crisp but informal pen renderings, and finally ending with more structured, formalized letterforms. The result is the Canto family, with monumental elegance and an expressive range.
Canto ventures beyond its inscriptional precedents to include small caps, both lining and oldstyle figures, and a wide array of swash alternates. Plus, Canto is fitted with Lipton’s own personal lowercase — lettered in a compatible manner based solely on his expertise and sense of style as a calligrapher. All together the versatility of Canto rises to meet our contemporary needs.
Evoking a certain majesty, timelessness, and naturalness, Canto achieves the perfect balance that Lipton sought in its inspirational origins.
8 Styles:Roman, Pen, Brush, and Brush Open, with Bold, Pen Bold, Brush Bold, and Brush Open Bold
Canto is available as OpenType fonts with both lining and oldstyle figures, small caps, and swash and stylistic alternates.
More Canto: http://www.fontbureau.com/fonts/Canto/
NEWS & NOTEWORTHY
A New Face in Central Park
It’s green and friendly. It’s also a head-turner and commands your attention. You’d think we were describing a giant; but really, we’re talking about a giant improvement: the new signage in Central Park featuring FB Titling Gothic. The new face adds loads of flexibility to the simplicity and clarity of the new signs, letting the type deliver the message. The message put forth by the Central Park Conservancy is clear — welcome to your urban oasis. And please curb your dog.
Read & See Photos: http://www.fontbureau.com/blog/titling-gothic-central-park/
Cyrus Highsmith is at it again, designing his signature limited-edition posters. This one, of the entire alphabet, is aptly named “ABCDEFGHIJKL MNOPQRSTUVWXYZ.” Printed by Em Letterpress on archival, soft white Hahnemúhle Copperplate printmaking paper, measuring 15.75" x 24," and priced at $35, they are signed and numbered by Highsmith himself. A portion of the proceeds are being donated to a local charity. They are lovely.
Enter the Web Font Awards
With so much more web font freedom unleashed over the past year, this is the time to submit your most innovative website design ever! Wow your peers and win the community choice awards. Awe the judges and win the judges’ choice awards. The three criteria are typography, creativity, and usability. We’ve got you covered for the typography part if you’re using Webtype web fonts, of course! Good luck to everyone, and we continue to be inspired by all the submissions so far. Deadline is October 28th.
Updated Licensing Options
With the advent and popularity of both mobile apps and new technologies for font use on the web, the structure of font licensing has been rapidly evolving. In response we have developed a modular approach to licensing and pricing to more effectively meet our clients’ needs. We now offer more CPU-based Licensing and new Application Licensing options and upgrades. So, whether you’re publishing PDF e-books, designing iPad magazines, or serving up cloud-based video games, web apps, and the like, we’ve [still] got your type.
Read on: http://www.fontbureau.com/help/licensing/
© 2011 The Font Bureau, Inc.