Frank Fonts

[Amice Golden]

FrankThe Architect was inspired the hand lettering in Frank Ching's classic (now out of print) book Architectural Graphics (1975). I had read that Adobe's lovely, ubiquitous Tekton was also based on Ching's lettering, but the book is more beautiful than I'd expected. In these fonts I've tried to evoke more of the idiosyncrasies of Ching's original, including the texture.

Since 1991 Heine was continually designing new typefaces that are distributed through several foundries. Among his designs are the well-known Remedy and Amplifier. In 1994 he founded his own company, U.O.R.G. in Stuttgart. Besides the design of new fonts and typographic logos, the company focuses on corporate design, brochures, posters, museums and exhibitions.

Heine's work has been published in novum, Emigre magazine, Page, IDEA magazine, Graphis Digital Fonts 1, Emotional/digital, Typography 17 and Typography 20. He was a member of BDG (the German association of graphic designers), the German Forum Typography and of the TDC New York.

Emigre, Inc. is a digital type foundry based in Berkeley, California. Founded in 1984, coinciding with the birth of the Macintosh computer, the Emigre team, consisting of Rudy VanderLans and Zuzana Licko, with the addition of Tim Starback in 1993, were among the early adaptors to the new technology. (More...)

I could rattle off a string of technical typography characteristics; ascenders, descenders, kerning, leading, etc. etc. but when I see a font I really like, I usually have an emotionally associative reaction to it. Here are 6 of my favorite fonts with my very non-technical impressions of them.

Always make sure to read the license for each font you use. Most of the fonts in the collection use the SIL Open Font License, v1.1. Some fonts use the Apache 2 license. The Ubuntu fonts use the Ubuntu Font License v1.0.

If you have any suggestions or ideas to improve the performance of font loading or expand the existing library, feel free to star and contribute to this repository. You can share your suggestions or ideas by creating an issue.

While it may not be the most fun part of a design workflow, font compliance is essential because copyright infringement for fonts can (and does) lead to font lawsuits. You may have heard that unauthorized font usage can have serious consequences. But you might still feel unsure about the ultimate costs of font copyright infringement.

The first lawsuit occurred in 2009. Type foundry Font Bureau sued NBCUniversal for $2 million, claiming that their fonts were being used beyond the scope of font licensing agreements. Essentially, the fonts in question had been purchased, but not with the permissions required for them to be used in promotional materials.

Then, in 2011, it happened again. P22 Type Foundry sued NBCUniversal subsidiary Universal Studios for $1.5 million over its font being used for Harry Potter merchandise when the purchased license only supported digital use.

Experience the bold, modern elegance of New Frank V.2, the latest creation from renowned designer Miles Newlyn and produced by Newlyn. Version 2.101;FEAKit 1.0 is now available for all your design needs, exclusively on Typekit.

With its sleek and stylish image ( -frank-v-2-font-download-02baf.png), New Frank V.2 exudes a sense of sophistication and cutting-edge design. Its clean lines and contemporary feel make it perfect for any project that demands a touch of modernity and flair.

New York courts have invalidated contracts and decided against creditors whose B2B contracts feature tiny fonts, Small fonts make it almost impossible for a customer or client to read the contract, let alone agree to the terms of the contract.

Form of papers. (a) Quality, size and legibility. Each paper served or filed shall be durable, white and, except for summonses, subpoenas, notices of appearance, notes of issue, orders of protection, temporary orders of protection and exhibits, shall be eleven by eight and one-half inches in size. The writing shall be legible and in black ink. Beneath each signature shall be printed the name signed. The letters in the summons shall be in clear type of no less than twelve-point in size. Each other printed or typed paper served or filed, except an exhibit, shall be in clear type of no less than ten-point in size.

The lack of a formal rule has hurt some creditors in New York debt collection cases. Because the font size used was too small, some creditors have lost their ability to enforce the underlying contract.

The font that Rafael Frank designed came into use in Germany and was later duplicated in other printing presses until it was adopted by the official press and printing houses in Israel. Itai Tamari, a scholar who specializes in the history of Hebrew typography, writes the following about the font:

"Unlike non-Hebrew letters whose design does not depend on any external factor, the design of a Hebrew letter must take into account the Code of Jewish Law (Shulchan Aruch)," Rafael said in an essay he published after the font was released. The rules of the Code of Jewish Law that originally pertain to the writing of Torah scrolls detail the shape, structure, and composition of each letter. Frank, being a certified scribe, knew these rules well and observed them rigorously. As a teacher, he knew how to update and change letters, based on pedagogical considerations.

"The quietness and stability of my writing are also guaranteed by the fact that none of the top strokes of the letters are skewed. (Letters can have several top strokes. For example, א has two, צ has two, and ש has three top strokes). The robust perpendicular lines remove the curvature, the lugs, and the jellyfish shape from the font and each letter appears intact with all its parts equal to each other ", he continued to write in the essay.

On the other hand, quite a bit of criticism has been leveled at the font and its various incarnations. It has been claimed that the letters are too wide, heavy, and crowd the page with black ink. It is also said that there are suitable substitutes, such as Narkis, Hadassah, or David, and other modern alternatives for a running-text font.

In the late 1980s, an attempt was made to redesign the Maariv newspaper, and the graphic designer used Narkis instead of Frank-Rhl. This provoked negative reactions from readers, who were unaccustomed to the new font, and the paper reverted back to its original design.

The font is so deeply rooted in Israeli identity and consciousness, to the point that it has become fully associated with modern Hebrew culture. A few years ago, as part of his final project, designer Shai Golan enlisted the font as a representative of Israeli society compared to the Ariel font, reflecting the desire to blur the diasporic and aesthetic differences. In the project, Golan presents the fonts in a series of examinations in order to identify the changes Israeli society has undergone in the modern and global world.

In 1920, only a decade after publishing the font, Rafael Frank died of a sudden illness at the age of 53. He was buried at the old Jewish cemetery in the city of Leipzig. Frank did not live to see his font, which was inspired by the Jewish tradition and carefully designed, be warmly embraced by the Zionist movement, and become a staple of Israeli society over the years in its various incarnations, whether in the diaspora or in the Jewish state.

now, the font is embedded inside the document.this is fine most of the time, but the mentioned font is licensed under GPL, without font exception. this renders my whole document GPL, which contradicts the license of the contents.

NOTE: I don't want to use bitmap fonts, and not to "scan" the document into some raster format. I just want that the document will rely on the given font to be provided by the viewer system, instead of providing it embedded.

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