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.
“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.”
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.
Love it or hate it if you have an opinion on comic sans (or have ever worn crocs to a wedding) this medium article is a lesson in context and appropriateness for you. “if you love Comic Sans, you don’t know anything about typography. But if you hate Comic Sans, then you don’t know anything about typography either…and you should get another hobby”.
“Our mission is to develop typefaces that push ourselves, and that push boundaries,” says Simon Bent of Melbourne-based type foundry Metis. From the heavy Dot19 to shape-tastic Geometer Regular, Metis’ typefaces blur the lines between creative expression and practicality. “You have to be creative with how you apply some of them in practice because of how far we push the limits of legibility, but that’s something we can live with,” Simon tells It’s Nice That.
“Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless.” It is impressively natural, legible and remarkably robust. At 2,580 characters, with “Rubix-cube-inspired feature code” Specimen VI provides beautiful opentype alternates to ensure the text looks like it has flown from the nib.
I always love seeing the diverse quality produced by the TypeMedia graduates. Their class of 2018 microsite is live and it does’nt dissapoint with loads of terrific typefaces on offer. My favourite (although it was tricky to choose!) is Zrinka Buljubašić’s Dalma which is a “reinterpretation of contradictory movements of the sea such as static and dynamic, sturdy and delicate, elegant and raw, wild and calm”