“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
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.
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.
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.”
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
Fontsmith has released trial versions of their entire library. I can set a sample chapter in a font (with limited character set) and present it to the client for approval without having to purchase up front. Once the client has approved my design I can then buy the full version to produce the finished work. This will save designers money up front and allow us to present clients with more diverse options at the concept development phase. It truly is fantastic news for our industry.