Drew’s ABCs is a project of passion that Ned and Brenda have been dreaming about accomplishing for the past 5 years. Limited to an edition of 350. In its wonderful pages, the alphabet comes alive. The concept for the book was to expose the richness of diversity within typography and celebrate its differences.
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.
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.“
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
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.
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.
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.”
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.”
Design writer Robin Rendle reviewed one of my all time favourite Typography Books; Inside Paragraphs by Cyrus Highsmith. “The book is also beautifully designed with Cyrus’s wacky and crooked illustrating style that makes it feel more like a children’s book than a serious one devoted to the art of typesetting (and it’s designed in such a way that the visuals never feel patronizing either).” Do yourself a favour and buy the book here!