It is interesting to see how color fonts are being used in new ways and in particular how for the first time all identities can be rendered into usable fonts.
Brett Piva the sign painting legend and creative master behind Newcastle’s Make it Made it event has announced the dates for the 2019 conference to be hosted at the incredible Newcastle Conservatorium. Lock this date in your schedule and look out for the Earliest of Early Bird discounted tickets next week!
Melbourne-based Beth Wilkinson is a publishing polymath, the founder, editor and creative director of Lindsay. The publication embodies the ethos of do-it-yourself publishing, and although she does most of the work herself, the publication provides an open perspective on the world and all its culture.
Part-I of a series in which Niteesh Yadav unpacks the typographic aspects of Augmented reality. Based on his ongoing research on typefaces for AR headsets. The articles help type designers understand the intricacies of the text in AR to improve workflow and design process.
The medium of Mixed/Augmented Reality gives us a unique opportunity to reexamine typography’s relation to both us and our space. Historically, boxes and grids have dictated how we design type and employ typography, but how does this hold up when type has environmental awareness?
“Every font has a piece of history associated with its creation.” Good Type is a 10-part series by Jamie Neely, and Emma Tucker that offers an in-depth look at different aspects of font design to help designers understand how to choose the right font for a given project.
in “The Smallest Possible Bit“ (an install of Robin Rendle’s Adventures in Typography newsletter) Robin addresses a readers SOS about being stuck on a good typeface and not being able to get past their trusty favourites. I can totally relate and have a handful of fonts I come back to time and time again. Robin’s writing on the matter is insightful and witty
Maria Doreuli, Liza Rasskazova and Nikita Sapozhkov have launched contrast foundry and promise to not just retail fonts but also to show the behind the scene process. I love the playful attitude the trip bring to the site (check out the about page where the founders pose with fruit and offer up dating profile details! This independent foundry already boasts some terrific typefaces and it is definitely a foundry to watch!
Designworks undertook a studio project Pepeha.nz – a website to help all New Zealanders introduce themselves in Te Reo Māori. ‘The Pepeha typeface is reminiscent of the land, the culture, the people and generations that have gone before us, both modern and timeless. Limiting the use of straight lines meant we were creating something that felt like each glyph was carved from the land itself. Something natural and formed organically.’
Corné van Iersel considers himself a novice stone cutter but his carefully crafted compositions exude quality beyond experience. Inspired by TypographHer favourites like John Mawby, Corné wrote to tell me what “tremendous satisfaction” he gets when carving. I loved the glimpse of his work he shared and so go intouch to learn more about the piece.
Fontsmith type design director Phil Garnham recently worked with students at Middlesex University to design brand-new typefaces inspired by 'The Future Starts Here' exhibition at the V&A. I particularly loved Antenna by Iveta Rihova. ‘The font is created out of fluid, organic, free form lines, representing tree ring pattern as well as signal transmission. Whispering trees converted into letterforms with abstract approach shall bring the world of nature and technology together.’
Jesse Ragan's Study is the result of a hypothetical dialogue with Rudolph Ruzicka. In this highly illustrated in-depth article Jesse details the process behind bringing the design from a hand-painted alphabet to a comprehensive digital typeface family. With historical background and analysis of design decisions, the piece provides a personal look at how one typeface was made.
PETER SCHMIDT GROUP publish a series of videos documenting talks on type, in the latest Dan Ratighan the Adobe’s Type Director, on the future of type, creating projects which push beyond the technical boundaries of type and how we as an industry keep moving things forward.
Type Designer Mark Frömberg shares how important self-made program tools are to his type design practice. Together with TypeThursday founder Thomas Jockin, Mark goes into how you can start to integrate coding into how you make fonts, a brief discussion on Higher Order Interpolation (HOI) and finally do you need to know programing to make variable fonts.
This talk is about letters and words, and mostly about life and opportunities. It is a story of utopian nature which presents a new writing system: Aravrit, hybrid letters merging Hebrew and Arabic. Each new letter is composed of a top part of an Arabic letter and a bottom part
Just van Rossum designed this ultimate Slab Serif capital H, with an ever-expanding number of serifs. Each H has four serifs, each of which becomes an H by sprouting additional serifs. The serifs on those serifs sprout their own serifs, on and on and on up to the thinnest line that the press technology can handle.
Paul van der Laan and Pieter van Rosmalen are marking the 10th anniversary of the founding of Bold Monday the independent Dutch font foundry with the release of an EP. This limited edition vinyl release features exclusive tracks by Le Cliché and Colophon. Designed by MuirMcNeil, the sleeve uses Capibara from the Bold Monday library.
Can you imagine transporting yourself through place and time to ancient Rome? Designers Tobias Frere-Jones and Nina Stössinger did precisely this when exhaustively researching their latest release. “This would turn out to be not just a design challenge, but a conceptual historical endeavour, like an archaeological dig.”
Unique stand alone serif’s come together in a collection aimed at those who tell stories. Their diversity and versatility ensures whatever the narrative this suite of faces will provide a memorable voice.
Dafi Kühne released this inspirational (& informative!) video documenting the production of his latest poster. Whereby he paints lettering forms with a stiff bristle brush in PVA glue to create a relief before mounting the dried sheet as a plate at type high to print gorgeous fluid and highly textural forms. (Mind blown once again - I am a huge fan of Dafi’s work and brave approach to experimentation with print media).
James Edmonson of OhNo TypeCo’s latest article talks about the business of starting out in the type design business and the shortcomings of his debut typeface. “I was too excited, eager, and inexperienced to care. Obviously, one cannot see the things one cannot see, but slowly, mistakes born of naivety began to show their ugly faces one by one.”
Pedro Arillia wrote this insightful article on using the right symbols in the right place: “We savour the silent sonority of words, the intimate rhythm of a sentence, the vibrant materialisation of language in black and white, and the stimulating arrangement of plumb soldiers. We both (you and me) are devoted lovers of the written word; and between us (you — the reader, and me — the writer) there is a vital link called typography”
if one stroke is out of place, the definition of a word or phrase completely changes. Consequently, designers draw on the specificities of the typographic language as “the main visual element” of a design to ensure there are no misunderstandings
With the october name change (from Typekit to adobeFonts) came numerous improvements to the service—no more desktop sync limits, no more web-only fonts and no more pageview limits. Thousands of additional fonts were added as well, improving the collection dramatically. Acknowledging the shift Jeremiah Shoaf ranked 40 of his favorites adobe faces and answered some frequently asked questions about the service
If you ever wondered what it means to focus solely on one thing and do it at your very best (or if you like me you are a Craig Black fan) or you’re finding your way with your freelance hustle this episode of the adventures in creative fields podcast is for you! From professional footballer to designing the UEFA typeface Craig's journey is a story of hardship and achievements that culminates with him heading straight back from London to the small town of Gourock in Inverclyde where he services world class clients.
Between 24 and 29 September 2018, book designer Katie Kerr was in residence at Enjoy as part of the project A working week. In this blog post, Kerr reflects on her time using the gallery as a site of development for her soon-to-be-published book Dirt.
Paul shaw’s newsletter this month previewed a book on the history of the Tipoteca. Designed by Simon Esterson, the designer of Eye magazine, printed and produced [metallic inks, short sheets, letterpress inserts, gatefolds and more] by Grafiche Antiga, run by the Antiga family that created the Tipoteca. There are contributions by James Clough, James Mosley, Jim and Bill Moran of the Hamilton Wood Type Museum, Alan Kitching, Erik Spiekermann, Leonardo Sonnoli, Enrico Tallone and others.
Check the article archive to discover posts by date or content.