![]() ![]() A slab could be personable, straightforward, and credible, though it would take special effort to also make it pretty, hard-working, and frank. ![]() When Martha Stewart Living asked us to develop a new typeface for the magazine, it seemed that a slab serif could answer much of the brief. While these faces can sometimes be bracingly modern, they’re often monotonous, and many Geometrics suffer from an astringent sting that makes them difficult to use and unwelcome to read. ![]() Geometrics usually apply this same rationalism to the woollier parts of the alphabet, replacing the alphabet’s beaks and tails and ball terminals with a program of matching serifs. ![]() A Geometric’s O is circular rather than elliptical, and its forms shed their residual contrast between thicks and thins. Informed by the same kind of rationalist thinking that inspired the great sans serifs of the Bauhaus, Geometrics abandon traditional forms in favor of mathematical strategies. The Geometric is a twentieth-century riposte to the Antique. But this coziness comes at the expense of modernity, and in the wrong context even the best Antique can feel old-fashioned, musty, and irrelevant. (Antiques customarily have the traditional ‘two-storey’ forms of a and g, and a capital R that ends in a flourish.) Our Ziggurat typeface is an example of the Antique style in full flower, capturing the best of what the style has to offer: it’s warm, comforting, and persuasive. Antiques arise out of the same nineteenth-century tradition that produced the Modern and Scotch styles: at heart, they’re text faces, and they feature all of the qualities needed to thrive at small sizes. Slab serifs have been evolving for two hundred years, yet the category continues to be dominated by two basic styles: Antiques and Geometrics. Archer was created for Martha Stewart Living, in whose pages the typeface first appeared in 2001. While rooted in the ‘geometric slab serif’ style that emerged in the early nineteenth century (and reached full flower a century later), Archer’s many liberties with the style include its uncharacteristic application of ‘ball terminals’ to capital letters such as ‘C’ and ‘S,’ a detail traditionally found only in the lowercase alphabet. The Archer typeface was designed by Jonathan Hoefler in 2001. Sweet but not saccharine, earnest but not grave, Archer is designed to hit just the right notes of forthrightness, credibility, and charm. True up at the end of each calendar month. For campaigns where number impressions is unknown until the end of the campaign, you can If you know the number of impressions the campaign requires, that amount can be ordered before theĬampaign begins. Prices reflect this, making it much less expensive to use a Digital Ad license. Have consistent pageviews month-to-month whereas advertising impressions can vary wildly month-to-month. There are a few reasons, such as the Digital Ads EULA having terms that enable usage in digital ads and onĭigital advertisements also have different usage patterns compared to websites. HTML5 ads use webfonts, so why purchase a Digital Ads license rather than a Webfont license? May be shared with third parties who are working on your behalf to produce the ad creatives, however you We'll supply a kit containing webfonts that can be used within digital ads, such as banner ads. You can use this type of license to embed fonts into digital ads, such as ads built using HTML5. ![]()
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