Proxima Soft is an expanded and remastered version of Proxima Nova Soft (2011). Both are rounded versions of my Proxima Nova (2005).

Proxima Nova Soft was originally commissioned by MyFonts in 2010 for use on its website. The following year, after numerous requests, I released it to the general font market. Because MyFonts needed only a few styles (Regular, Medium, Semibold, and Bold), that’s all I did at the time.

Soon, I got requests to do a full family. This was easier said than done. I began work on the full family in 2013. After several false starts, over three years later, it’s finished.

Although the old and new families look similar, there are many small improvements in the design, not just a wider range of styles and more features.

Proxima Soft has the same 48 weights and styles as Proxima Nova—eight weights (Thin to Black), three widths (Normal, Condensed, and Extra Condensed), and both roman and italic for all weights and widths. There is one small difference—no small caps or old style figures. I included these in Proxima Nova, but I’ve never seen them used, so I decided not to put them into Proxima Soft. (I may add them later if people actually do want them.)

A Proxima Nova feature I do see used a lot is the set of alternate characters—a, l, y, and G. Proxima Soft includes them, as well as other Proxima Nova features such as arbitrary fractions, ordinals, and both proportional and tabular figures.

Proxima Soft also contains the same wide language coverage, including support for most Latin-based writing systems as well as Cyrillic, and Greek.

I would have preferred to keep the name Proxima Nova Soft, but there were some problems with that idea. First, there are limits to how long a font name can be. Proxima Nova already pushes the limits in the Condensed and Extra Condensed ranges, and adding the word Soft to every style and weight was not going to work. By calling the new family Proxima Soft, the font names will be exactly the same lengths as in Proxima Nova. Problem solved.

The other perhaps more important reason is that the shared styles—Regular, Medium, Semibold, and Bold—are not identical in design and spacing between the new and old version, which means that documents created with Proxima Nova Soft would have reflow issues if the new fonts were installed in its place, not to mention differences in appearance, especially at larger sizes.

If you liked Proxima Nova Soft, you’ll love Proxima Soft. It’s got more of everything and makes a great companion to Proxima Nova.

Proxima Soft is available at all of my distributors. See the Proxima Soft page for a complete list.

Viroqua’s ancestor, Excalibur, hand inked.

I released Kandal in 1994. It’s one of my earliest typeface designs, going all the way back to an earlier design in 1978, which I submitted it to International Typeface Corporation (ITC) under the name “Excalibur”. It went through a couple of iterations before the one I submitted, variously influenced by the work of Hermann Zapf and Jim Parkinson. I honestly had very little idea what I was doing—a case of overestimating what I knew and underestimating how much was left to know. By a large margin. Excalibur was understandably rejected by ITC. It had lots of problems and I resolved to improve my knowledge and skills before trying to submit something to them again.

Fast-forward to 1990. I never did submit any more typefaces to ITC, but I did have lots of ideas and sketches and practice drawing letters. I also got a Mac in 1984 and Fontographer in 1987 and started trying to make PostScript fonts. One of my ideas was to revisit Excalibur, simplifying the design and addressing its many flaws. This became Kandal. I was also working on Proxima Sans, the predecessor to Proxima Nova, around the same time, and a few other ideas, some of which are still on the drawing board.

Kandal has never been one of my popular typefaces. It’s not surprising, given that it was such an early design, made when I had very little experience making fonts. I probably should have pulled it from my library, but I kept thinking I would come back to it and fix it, like I did with Proxima Sans.

Thirty years later, it’s finally happened. The new version is reworked from the ground up, so I decided to give it a completely different name, instead of something like Kandal Nova. “Kandal” was my paternal grandmother’s maiden name and the town in Norway her family was from. The new name, “Viroqua”, is the town in Southwestern Wisconsin where she was born and raised.

Viroqua is an improvement over Kandal in every way I could think of, while retaining its core design concept: A hybrid combining modern proportions, Jenson-like details, and a bit of slab serif DNA. Nearly every character has been reworked or refined. The original italic especially suffered from my lack of experience as a type designer. I basically started over. I’ve got three more decades of experience and I hope it shows.

Viroqua also has a wider range of weights, seven in all, going from Thin to Black.

Viroqua features many typographical niceties missing from Kandal, such as small caps, old style and lining figures (both proportional and tabular), superscript and subscript figures, fractions, and dingbats. Viroqua also supports most Latin-based Western and Eastern European languages, plus Vietnamese.

Viroqua is available now. More information here.

This photo shows my first attempt to create type on a computer screen. It is from about 1980.

The computer is that tiny white horizontal shape in the lower left, a Sinclair ZX80, which I bought mail order for $200. It had a 1mhz processor, 1k of memory, and built-in BASIC. The display is an old black and white television (not included). Programs and data were stored on a cheap cassette recorder (also not included).

The “a” image on the screen was created by programming the computer to display several lines of space and “block” characters in a certain order (which I worked out beforehand on graph paper). This is about as basic as a BASIC program can get.

Unfortunately, it took a good share of the computer’s memory just to do this. I didn’t investigate it further.

Update: I remember now. The thing on top of the TV is the cheap cassette recorder I used to store data. Yet more details: The “table” is made from a piece of plywood (which I still have) and a Crumar electric piano stand (which was sold with the piano to a guy who is now in prison for murder). (Not that it matters.)

This one was news to me: Jean François Porchez, proprietor of Porchez Typefoundrie in France, has a personal weblog called Chez Porchez. He also has a hand in the French type blog Le Typographe.com.

Berlin-based Erik Spiekermann, designer of the ubiquitous Meta, has one called spiekerblog. According to a recent interview on typeradio, he created it so he wouldn’t have to answer so many emails asking the same questions over and over.

Finally, one of the first weblogs I ever knew about was Grant Hutchinson’s splorp blog. As a type designer, he was responsible for a large portion of the old Image Club type library. Image Club is no longer around, but, after several changes of hands, many of their fonts still are available through Agfa Monotype, including his ever-popular Fajita. Grant is now at Veer in Calgary, Alberta, which he helped start up with his Image Club cohorts. [Update: Veer no longer exists, so I removed the link.]

Almost ten years ago, I made a little program called Pangrammer Helper. It’s a little tool to help compose pangrams, which are sentences containing every letter of the alphabet. It was built in Flash and was designed to run in a web browser.

Type designers are especially enamored of pangrams, as you can imagine. Fellow type geek and friend, Craig Eliason, has been using it for several years to compose entries for his Daily Pangram site.

Recently, a new font editing app called RoboFont was released, and I’ve been starting to use it in my work. One of the neat things about it is that it’s fully extendable—that is, if you are willing to do a little Python programming, you can add features to it.

Last week, the Robothon 2012 conference was held in The Hague. It was all about type design and technology. I wasn’t able to attend, but videos of most of the talks have been made available on Vimeo, and I’ve been watching them the last couple days. Two of them in particular, one by Tal Leming about Building Stuff and another by Frederick Berlaen introducing RoboFont, inspired me to rewrite my Pangrammer Helper in Python so it could work inside RoboFont.

It took less than a day to do it, and it works great. You can use it by itself, and it works a lot like the old Flash version (a bit simplified), or, if you have RoboFont’s “Space Center” window open (the window were you work on your font’s spacing), the text also appears there as you compose it.

If you happen to be a RoboFont user, you can download version 1.2 of the script here. Just drop it into your scripts folder and you can run it right from the Extensions menu.

Update: Frank Grießhammer (currently working in Adobe’s type department) has contributed some improvements to my script, mainly adding the ability to add non-ASCII characters (as in “Grießhammer”) and an option for mixed-case pangrams. Thanks, Frank! The download link above will download this version (1.2).

When I decided to sell the rights to my library of fonts to The Type Founders in 2021, one of the big reasons for me was the ever-growing burden of maintaining and developing that library.

As a one-person studio, there was only so much I could do. Proxima Nova had become very popular since I released it in 2005, and I regularly got requests to expand its language coverage.

At first, I did this task myself, adding support for Greek and Vietnamese in 2009 and Cyrillic in 2010. Even though I can’t read languages that use these writing systems, they were close enough to the Latin alphabet that I felt sufficiently confident to design them. But I’ve always felt out of my depth as a type designer even thinking about designing non-Latin fonts.

Still, I could see that adding even more language support would make a lot of sense for such a popular type family. Theoretically, I could hire other designers and production people to help, either as employees or as contractors. But that would mean managing those people, something I know I’m not very good at.

I like working by myself, and I would rather spend my time working on new typefaces.

It was around the time I was thinking about these problems back in 2019 that I was approached by Paley Dreier (now Managing Partner of The Type Founders) about selling my font library. It was something I’d never thought about before, but I eventually realized that it would be a neat solution to my problems. I would be relieved of the burden of maintaining and expanding my existing fonts, giving me time to focus on designing and releasing new fonts—which is what I’ve been doing for the last few years, with the release of Proxima Sera, Dreamboat, Proxima Nova Wide and Extra Wide, Viroqua, Cheesecake, Madcap, Gertie, and Skin & Bones. In fact, I’m currently working on a new sans serif family, the first since Proxima Nova, if you don’t count display faces.

In the meantime, The Type Founders has been working to expand language support for Proxima Nova, with the aid of some really talented type designers from around the world. We’ve dubbed the fruits of this effort Proxima Super Nova.

In addition to most Western and Eastern European Latin, Greek, Vietnamese, and Cyrillic, Proxima Nova now supports Arabic, Devanagari, and Thai (both looped and loopless). More writing systems are in the works, including Hebrew and Hangeul.

Check out the Proxima Super Nova mini-site to find out all about it.

If you have any questions, are interested in extended or enterprise licensing, or need additional language support or customizations, get in touch! Send a note to info@marksimonson.com

A big thanks to the following people:

Proxima Nova Thai: Smich Smanloh of Cadson Demak

Proxima Nova Devanagari: Vaibhav Singh and Alessia Mazzarella of Typeland

Proxima Nova Arabic: Khajag Apelian and Wael Morcos

The mini-site: Elliot Jay Stocks (site design and content development) and Roel Nieskens (site development)

Project management and production support: Glenda Bellarosa and Dyana Weissman