Emily Hancock of St Brigids press is building a series of posts on female lineage in the art of printing and book-making. The most recent article shines a spotlight on: Elizabeth Yeats. “If the surname sounds familiar, you are right ~ Elizabeth (1868-1940) was the sister of famed Irish poet William Butler Yeats.”
“We believe that type foundries don’t want to be spending time and money maintaining websites. We also believe you shouldn’t have to settle for reaping only a fraction of the revenue of sales that major marketplaces pay out in royalties. Fontdue removes this hurdle by providing the tools you need to run a foundry with no upfront cost, and a pricing model that scales to your size. We take care of running and maintaining the technology so that you can focus on designing and marketing your typefaces.”
Monotype Imaging Holdings Inc. (Nasdaq: TYPE) announced that it has entered into a definitive agreement under which HGGC, a leading middle market private equity firm, will acquire all outstanding shares of Monotype common stock for $19.85 per share in cash, representing an aggregate equity value of approximately $825 million.
Behind the fonts is series of designer interviews aimed at highlighting the people and process behind the fonts you love and use. This installment features Jessica McCarty, an award-winning designer of handwritten and calligraphic fonts. McCarty founded Magpie Paper Works, a boutique typographic foundry specializing in hand-drawn fonts and custom lettering. She also co-founded Rare Bird Foundry in 2017, where she transforms select artists’ calligraphy into premium OpenType fonts.
The 2019 Font Purchasing Habits Survey is a research initiative to support the type industry. The survey will last for 45 days - August 27 - October 11. Take the survey and as a thank you, you’ll get 15 awesome Monotype fonts for free! The survey is available in 6 languages - English, German, Spanish, French, Brazilian Portuguese, and Japanese.
Katie Kerr believes design can be more thoughtful by instigating critical research processes; more sustainable by informing aesthetics with best practice rather than trends; and more poetic by applying considered and elegant form. I caught up with this celebrated designer, publisher and craft(wo)man, on the back of her recent PANZ young designer of the year award win. Image courtesy of Xander Dixon for Enjoy Art Project Space
Catalog Press was borne of Ben Denzer’s fascination and unique design stance on books, interested in them because “they are both content and object; simultaneously sculpture and catalog, singular contained multitudes,” he tells It’s Nice That. In turn, Catalog Press’ output builds upon this stance and Ben’s overall attitude of trying “to find ways to approach the book as a physical object,”
For this week’s Bookshelf, the artist and illustrator Charlotte Ager talks It’s Nice That through the books that she repeatedly returns to. On these notable titles she explains: “I use books in my practice less as visual points of reference and more as studies in how to tell stories and express ideas.”
“I think graphic design needs more benevolence, and young type designers need more help to highlight their work and find clients and collaborators. I think they need a digital place where the public can test their work to help them acquire more visibility,” says graphic and type designer Floriane Rousselot, the founder of Typelab. A digital platform, Typelab is a space to do exactly that: showcase the work of young typographers who are unable to sell their fonts through more established and traditional type foundries.
the second episode is with Craig Black, an award-winning typographer, lettering artist and independent designer. (And all round champion human!) Craig is also the Co-Founder and Creative Director of a social enterprise aimed at utilising the creative sector to be the nucleus for positive social change across Inverclyde and Scotland. Craig tells us where his fascination with typography came from and discusses how making mistakes has helped him develop his ability to adapt.
Going freelance is much more than executing assignments and getting paid. Being your own boss is about building a project that you are proud of, that carries your mark, represents your vision, and that ultimately makes you happy. With an insightful, passionate, and personal approach—within a modern and beautifully designed book—Martina Flor reveals all secrets behind building a professional practice in the creative industries, while developing your personal brand and making a living as a freelancer. Your big leap starts here.
Podcast host Jarrett Fuller talks with Rick Poynor / writer, critic, and editor on graphic design and visual culture. In addition to founding and serving as the first editor in chief of Eye, Rick also cofounded Design Observer, continues as a columnist for Eye, and has written for Print and Blueprint. In this wide-ranging conversation, Jarrett and Rick talk about the early days of Eye and his early interest in visual culture, the evolution of design discourse over his career, and the new publications that excite him today.
The latest book release from Letterform Archive is Morla : Design a career-spanning monograph of leading designer and AIGA medalist Jennifer Morla. It features exquisite reproductions of her work, vital design insights, reflections on Jennifer’s 26 favorite characters from 19th and 20th-century typefaces, and behind-the-scenes stories, all brought together an astonishing print package devised by Morla herself.
I feel nervous posting this as there has been a lot of heat around this topic in type lately! But this article shares my story of doing the wrong thing then correcting course when building a font library.
Emily Gosling reviews a Graphic Design Play Book: An exploration of visual thinking by Paris-based graphic designers Sophie Cure and Aurélien Farina offers up the idea of design and play in a fun new way. The book acts as both a simple introduction to the basic principles of graphic design; and a gentle, fun way for those who already design to think about their craft in newer, simpler ways.
Since establishing Bizzarri-Rodriguez. nine years ago, Thomas and Alain have focused their practice on the book as a medium as well as the practice of typography. “It’s probably one of the most all-encompassing design exercises you can find,” explains Thomas. “Designing a book involves so much knowledge and so many different practices; it is everything except a science.” They try and learn something new every day, keeping in mind what has or hasn’t worked previously and trying out new ways of working to deliver the best possible outcomes within design.
Rather than being modern interpretations where the designer leaves an obvious mark, the Commercial Classics are careful reconstructions, made not for yesterday, but for today’s users. They take the old forms, and expand them in new directions, whilst retaining the charm and beauty of the originals. This talk took place on July 8, 2019, at The Cooper Union as part of Type@Cooper's Herb Lubalin Lecture Series.
James Edmonson of OHNO type company, has a new (work in progress) release via Future Fonts. Its incredibly fun and you can grab it now for just $9 USD. “This counterless semi-connecting script is an ode to unbridled enthusiasm and a complete disregard for the ruler tool.” James explains most of his work is scaffolded by the idea of “counterspace equals letterspace”, but when the counters get removed things feel more abstract, and with the unfamiliarity comes a different sort of impact.
Tallone Press’ collection of typefaces, archiving styles ‘from gutenberg to the moon’ features beautifully photographed fonts, punches, printed specimen and plates. This is an exquisite source of inspiration and information for printers, and typographers.
It is no secret I am a fan of everything Jamie Murphy produces. his work is always of an outstanding quality - this month he shared photos via instagram (not yet on his website) of a recent project called 1753. “It was made in reaction to a report stating there were 1753 homeless families in Ireland in the lead up to Christmas 2018. How can a number like that hold actual weight when we can’t easily visualise it? My idea was to represent each family with a single empty page. Each spread therefore representing two families. The resulting book is eight inches thick.”
“The history of typefaces can be a rather sketchy affair at times, with many questions that defy definitive answers: When was a certain style first introduced? Which foundry created it first? For the writer and historian, it is near impossible to write with complete certainty, with the fear that something will be discovered that changes our understanding of the past, a concern has only increased in the age of the internet. Yet, at the same time, we are living during a time that offers new possibilities of new discoveries, which is why we have embraced the challenge.”
Graphic artist Anthony Burrill has created two works for the inaugural Harewood House Biennial, a six metre-high tower and an installation for the entrance hall of the manor house in Yorkshire. Bringing together traditional letterpress typefaces and modern-day craft techniques, Burrill’s ‘visual puzzles’ take inspiration from the geometry and symmetry of the 18th century Leeds building, confronting people’s perceptions about whether historic houses should remain pristine or be challenged by contemporary ideas.
Dan Reynolds shares some context around the development of his dissertation published in the latest footnotes magazine on the history of the H. Berthold AG and Ferd. Theinhardt type foundries, as well as the histories of the Akzidenz-Grotesk and Royal-Grotesk typefaces.
During the editorial design of a novel by Boll, designer Sandrine Nugue created a sharp, elegant typeface to be used specifically for expressing the many insults found in the pages of the novel.
Commercial Classics Journal entry on the how the digital processes of making type today differ from the days of moveable type. “We made all of the faces in the Commercial Classics library digitally from start to finish. However, the originals they were based on were made in the traditional analogue method that had been in use since the fifteenth century,“
Toshi Omigari’s definitive survey of ’70s, ’80s, and early ’90s arcade video game pixel typography. Arcade Game Typography presents readers with a fascinating new world of typography: the pixel typeface. Video game designers of the ’70s, ’80s, and ’90s faced color and resolution limitations that stimulated incredible creativity. With each letter having to exist in a small pixel grid, artists began to use clever techniques to create elegant character sets within a tiny canvas.
Commercial Classics, like Commercial Type, is a joint venture between Paul Barnes and Christian Schwartz, whose “intention is for these historical forms to escape the past and come to life again.” The classics draw heavily from resources in the St Bride collection, and for each purchase the foundry will make a donation to help support the library.
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