Fontwerk’s Post

↓ What Ivo says. ↓ (As proof of how useful these little things are.)

For the individual font releases, we usually work with different creatives from different professions. As we have now been asked several times who made the latest video for #PangeaTypeface, here is the answer: Tobias Anderssohn ↗ (who is very active here on LinkedIn) in collaboration with Anja Knust. It is always a great pleasure to be inspired by the ideas and enthusiasm of our partners. We didn’t use any music this time, but the sound effects are equally effective. The sound sequences in the video are under CC license and have not been modified. freesound.org Creators: GregorQuendel, JustinBW, RepDac3 (License: Attribution 4.0), forthishouse (License: Attribution 3.0), KALeigh0218, JappeHallunken, larspriebe, timbreknight (License: Creative Commons 0)

How can a typeface improve the world? Even before he had drawn the first letter of the Pangea typeface, Christoph Koeberlin wanted to answer this question. He wanted to prove that designers can positively influence the environment. One way that he is doing this is by donating 25% of his income from Pangea to the preservation of the rainforest and to large-scale reforestation projects involving the local population (Trees for the Future, The Green Belt Movement, Fairventures Worldwide gGmbH). With every purchased font license via #Fontwerk, designers are helping to preserve one of the most important factors in slowing down climate change. The #PangeaTypeface works remarkably well due to its refined space saving – it is more condensed than a normal #GeometricSans, even in the normal width. This characteristic is the result of the smart #TypeDesign decisions that designer Christoph Koeberlin made working on Pangea. Another outstanding trait is the consequence between the compactness and closeness, while diagonal terminals and round dots make for a friendly appearance. He successfully manages the balancing act between narrow #Grotesque typefaces and geometric ones. This approach is also demonstrated in the rather large x-height as well as the barely open forms, but also in the unusual ‘spectacle-g’, double-story a and l with foot. The more common single-story ‘g’ and ‘a’ as well as the straight ‘l’ are, of course, accessible as OpenType alternatives. The second member of the family, Pangea Text, is built upon the same foundations but aims to improve legibility. With longer ascenders and descenders, more open forms, slight ink traps and more generous spacing, this variant is great for use in extensive texts and is particularly good for use in small sizes as well as on screens. Not only do both families complement and harmonize with each other, but the decision to work with #OpticalSizes is what makes the core family’s uncompromising nature and attractive appearance possible in the first place. Saving the world through one typeface at a time — it’s worth a try. … and you can try the fonts including the new Condensed styles here: https://lnkd.in/dwzbNpU

Pangea has brought many incredibly fantastic people together. Just like the primeval continent that the typeface is named after, it’s a symbol of not only the big (common) picture but of global cooperation. While Gergő Kókai from Hungary supported him in the design of the upright characters, he brought Tanya George from India and the Japan-based Gabriel Richter on board to work on the italics. He consulted with Irene Vlachou from Greece, Ilya Ruderman from Russia, Donny Trương from the USA and Paul Hanslow from Australia to ensure the quality of the Greek, Cyrillic, Vietnamese and African Latin characters. The spacing and the kerning of the font would not have been possible without Igino Marini from Italy and his superior iKern technology.  Broad foreign language support is almost obligatory with such an omnicultural approach. From the beginning, European Latin, Cyrillic, Greek and Vietnamese language support have been included in Pangea as standard. The first language extension was Pangea Afrikan which supports all Latin-based African languages and some indigenous languages of North America and it was released a corresponding subset for free in the Standard License towards the end of 2021! Thanks to the Lebanese Type Designer Azza Alameddine, who lives in Spain, and the Israeli designers, Yanek Iontef and Daniel Grumer, Arabic and Hebrew followed just one year later. It’s time to say thank you to all these wonderful people: DANKE! Oh and there is also some Pangea news to announce: In his ever-evolving quest to further develop and improve his typeface, Christoph has designed three new widths to the Latin, Cyrillic and Greek parts: SemiCondensed, Condensed and XCondensed. This means, the stylistic range has quadrupled. ❡ DESIGN: Christoph Koeberlin ❡ DESIGN CONTRIBUTIONS: Azza Alameddine (Design Arabic) Yanek Iontef (Design Hebrew) Daniel Grumer (Design Hebrew) Gergő Kókai Tanya George (Co-Design Italics) Gabriel Richter (Co-Design Italics) Andreas Frohloff Ilya Ruderman (Cyrillic consultancy) Irene Vlachou (Greek consultancy) Donny Truong (Vietnamese Consultancy) Paul Hanslow (African Latin consultancy) ❡ MASTERING & PRODUCTION: Christoph Koeberlin Olli Meier Andreas Frohloff Igino Marini (Spacing/Kerning) ❡ MARKETING: Christoph Koeberlin (Naming) Ivo Gabrowitsch (Copywriting, Specimen) Tobias Anderssohn ↗ (Motion Design, Imagery) Anja Knust (Artwork, Imagery) Fungi Dube (Artwork, Imagery (Afrikan)) Azza Alameddine (Artwork (Arabic)) Yanek Iontef (Artwork (Hebrew)) Olli Meier (Artwork (Arabic, Hebrew), Specimen) Nik Stohn (Motion Design (Italics)) Lucy Beckley (English Translation) ❡ #PangeaCondensed #PangeaFont #Fontwerk #TypeDesign #NonLatinFont

HELLO PANGEA CONDENSED ❡ Not content with already being a multilingual typographic shapeshifting superfamily, Pangea by Christoph Koeberlin just got even bigger and better! In his ever-evolving quest to further develop and improve his typeface, Christoph has designed three new widths to the Latin, Cyrillic and Greek parts: SemiCondensed, Condensed and XCondensed. So there are now many more fonts to play with, 80 of them in fact! This makes Pangea an even more powerful tool, particularly in editorial, responsive, branding and packaging contexts. Apart from that, there have been some improvements to the variable font (which, as always, is included free of charge in the Superfamily package), some minor optimizations ‘under the hood’ and, from now on, webfont subsets to optimize loading times. But long story short, the best thing is to test the Trial Fonts and experience the new Pangea widths: https://lnkd.in/dwzbNpU By the way: the designer’s commitment to donate 25% of his earnings to preserving the rainforest and to implementing large-scale reforestation projects still stands! ❡ #PangeaCondensed #PangeaFont #Fontwerk #TypeDesign #ChristophKoeberlin

Ivo Gabrowitsch appears in PAGE – Das Magazin der Kreativbranche One of our favorite magazines is reinventing itself, the brand new PAGE will now be published quarterly, with more content and a brand new design. In the latest edition, our founder, Ivo Gabrowitsch was delighted to be asked to comment on the rise of Google Fonts and their impact. For Ivo, while Google Fonts have opened up the world of webfonts to many, ‘having your own House Font remains important’. As an independent type foundry, we love to help brands, businesses and individuals stand out from the crowd with their own personalized and unique typefaces. Be sure to pick up the latest copy to read Ivo’s insight and many others in full. PAGE – Das Magazin der Kreativbranche: https://lnkd.in/euhxG-iK

Push features in Grafikmagazin Push by Christine Gertsch really has been making waves over the past couple of months. So, we were delighted to see the first documented in use case of Push in print for the latest edition of Grafikmagazin which came out a few days ago. Used as a headline font in the ‘Design & Research��� section, we're so pleased to see Push in action and working hard on the page alongside Favorit and Arizona from our fellows at Dinamo. Get your hands on the latest edition: https://lnkd.in/ebg7kZCJ #graphicdesign #visualdesign #pushtypeface #branding #typedesign

Come to Berlin Letters! We love to talk type! So, it is always a pleasure and a privilege to be invited to speak in depth about typography and dive behind the scenes of the wonderful world of all things fonts! In July at the incredible Berlin Letters Festival, our founder Ivo Gabrowitsch will lift the curtain on what it takes to publish a typeface and what ingredients (all beginning with P) it takes to bring a font to life and we would love to see you there! Berlin Letters is a type conference unlike any other, with a jammed packed schedule of talks, workshops and super fun things to do, it’s a not-to-be-missed occasion and we can’t wait to go! PS... If you’re quick, you can still grab a 20% discount off tickets if you use the code ig6d9vb8 before 28 June. ❡ Head to their website to grab your ticket now: https://berlinletters.com/

In our last newsletter we presented Elliot Jay Stocks’ new book ‘Universal Principles of Typography’. In addition to great typographic tips, the book also contains a pinch of our work. Now he is following up with a new book project for which he is asking for support on Kickstarter. In addition to the idea of writing about #TypeSpecimens, we are particularly enthusiastic about the cover, which showcases our #CaseFont. Therefore, our clear recommendation is to support this project. https://lnkd.in/eVhJTBHd