When a display face is redesigned for smaller sizes, its thin strokes are thickened, its gestures are amplified, its proportions are adjusted to favor small shapes (the entire lowercase usually gets substantially bigger), and additional white space is added wherever it can help relieve congestion: counters are enlarged, apertures opened, and inter-character fit is loosened. The net effect of these changes is an overall widening of letterforms as they get smaller, as a quick comparison of related text and display faces will confirm.
Saddened to wake to news this morning of Freda Sack’s passing. Freida was a generous, welcoming, and talented woman. A role model, a luminary, past ISTD president she made a significant contribution to our community.
Robin Rendle acknowledges it is cruel but he “always judge a book by its margins” he can forgive poor paper and type selection. But in this terrific article Robin delves into the importance of the shape, and function of space - and includes some vividly written reviews on well designed books “The story became, over time, somehow indivisible with the shape and format of its container. The way that pages creak as they’re turned, their thickness, the initials that sink into wide columns of text, they all blend deeply into the narrative.”
Canadian Gerald McGoey was judged to have falsified documents in an attempt to protect certain assets from bankruptcy proceedings because—the documents used Microsoft's Calibri & Cambria fonts, which didn't become widely available until 2007. This would have been fine were it not for the minor detail that the documents were dated 2004 and 1995.
The third of Niteesh Yadav’s type in AR installments “Rapid advancements are happening in the hardware and software parts of AR implementation, but it is clearly visible that text is a matter of least concern to engineers and developers at the moment… As a type designer, we spend countless hours to get that right shape and in the end, if we see the whole thing rounded off or distorted, that is a huge blow to the heart.”
Based in Bangkok, Thailand Dave is prolifically producing typefaces and retails via MyFonts. Dave says Schizotype is a foundry with a multiple personality disorder, making mainly display fonts in a wide variety of genres.
Mrs. Wronker, who illustrated numerous books for children and adults, said she found the process of drawing “as mysterious as life itself.” A devout typophile — she was a founding member of the Society of Scribes in New York — whose fascination with the shape and form of letters found creative expression on hundreds of book jackets between the 1940s and ’60s. Richard Sandomir’s Obit of this accomplished book designer, illustrator and calligrapher for the New York Times
An American private press founded by Spencer Kellogg, Jr., in the 1920s. Influenced by the Arts and Crafts movement, the Aries Press produced exceptional examples of fine printing. This deluxe (Signed and numbered) edition of 50 is a collaboration with P22 Type Foundry, RIT Press, and Wells College Press. Featuring letterpress printed pages, and gorgeous marbled endpapers by Stephen Pittelkow.
Quentin Schmerber’s Esad talk on Baskerville in France (and his changing relationship with English typefaces) released as a video capture, its honest, insightful (nerdy!) and delightful - check it out and after the jump note the links on the right to other speakers from the event.
The 7th ICTVC 2019 theme is "Challenging design paths". Examining the value of design for visual communication and provoke participants to challenge current assumptions. The conference runs 19–21 June 2019 & workshops, 17–18 June 2019 in Patras, Greece.
Argentinian designer Ramiro Espinoza, founder of ReType, brings his enthusiasm for Dutch design to a practical exploration of how we might guide typography into the future by learning more about its past. “Believe it or not, understanding punchcutting and metal typography can even help you to improve your digital typefaces.”
Join the world-class type designers and typographers from around the world for a packed day of presentations and discussions. This is a two-way conference, a forum where not only you can learn from the speakers, but where the speakers also hope to learn about your experience with using or licensing type, the challenges you face, and ideas you may have.
Matthieu Cortat’s Yorick has an ingenious approach to spacing alternates; while it is a monospaced font it also contains alternative glyphs set to half and one-and-a-half width. I asked the Matthieu to tell us more about his design process, inspiration and the fonts features.
The game allows you to go on a ‘blind date’ with different fonts and learn more about type personalities as you go. If Times New Roman was a person, would you date them? The fifty cards in the game feature different fonts to choose from: make your selection, then turn over to find out what the type you’re attracted to says about the type of character you are. I am eagerly awaiting my copy & will write more as soon as I have had a chance to play!
the tremendous bifurcated tuscan HWT Brylski typeface Nick Sherman designed for the Hamilton Woodtype Museum recently became available for free syncing via Adobe Fonts to anyone with a creative cloud subscription. Activate and sync this excellent typeface digital font on your account and the museum will receive a donation without it costing you anything.
Phase features a new typeface by the designer which can react to either a manual slider or sound, with web development by Florian Zia. Depending on your choice of typographic manipulation, characteristics of Elias’ typeface will grow thicker or thinner, morphing from the readable into the decorative, or vice versa.
I dont often link to twitter incase the link breaks but this video is worth the risk! Check out these public explorations with motion and variable fonts from @studiodumbar, on view soon at Dutch train stations and commercial spaces. Type by @bartvoll, motion and coding in @drawbotapp by Sander Sturing, with @ExterionmediaNL
Carolyn Porter wrote this excellent overview for people considering transforming old cursive handwriting into a digital font? “Before forging ahead with the design, assess your goals for historical accuracy, identify the idiosyncrasies that make the handwriting special, develop a strategy for connecting glyphs, and decide if you want to include texture. Then let the fun begin.“
The question of when a typeface or lettering crosses the line from being expressive and conceptual into simply becoming illegible has long been debated in the field of design. Should type always be considered a tool for clear communication, or can it take on symbolism of its own, acting as an image would? For Paris and Lausanne-based graphic designer Eliott Grunewald, an investigation of the latter forms the basis of his experimental portfolio.
Nick Summers instagram account has been step by step documenting the process of moulding and casting type. Inspired by Dafi Kuhne he spent most the last four weeks casting a large fount of 6-line condensed gothic in polyurethane, from a wood type original. He illustrates and descirbes the process in great detail
More on the Thickness Illusion and two psychophysical experiments that investigate a visual illusion that is considered common knowledge among type designers, but has never been studied scientifically. Specifically, the thickness of a horizontal line is overestimated in relation to that of a vertical line.
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.
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