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,“
Fontself partnered with Francis Chouquet and Daniel Hosoya to bring you super-packed creative advice to help you up-your type craftsmanship. They synthesized their top recommendations & illustrated them as part of two new articles on the fontself blog: The first entitled ‘How to draw better letters for your fonts’ and the second builds on this wisdom with tips for consistency in ‘How to design a typeface system‘. (Use these tips to develop your own typeface with Fontself like I did here)
Check out this incredible Animation created for Richard Ardagh’s talk on Monotype punchcutting at the Printing Museums conference in Belgium. The face of this steel punch measures 0.2 inches (approx 5mm) square and you see the approx 30 stages of the engraving process. This ct ligature is from Hungry Dutch, a font by Russell Maret
There is a small scrapbook in the original W.A. Dwiggins Collection at the Boston Public Library. Among its miscellaneous contents are five small sheets of paper bearing undated outline drawings of rotunda alphabets. Paul Shaw deep dives into the provinance of these important and lovely sketched letters.
A few weeks back I was scrolling my twitter feed when some striking marbling stopped me in my tracks. The photographs were progress shots from Emily Hancock’s binding process of her latest release a gorgeous letterpress printed edition of Michael Delp’s poetry.
After completing Kontiki to much celebration and admiration from our community, Felix set to work expanding the family by developing the characters that informed his woodcuts. The resulting font is Pulpo, a friendly and comfortable looking slab serif inspired by Century Schoolbook and Clarendon.
“Join Font Designer Lila Symons for an engaging and informative introduction to the numerous women with whom she has collaborated with over the years at Hallmark Cards. And how working alongside pre-eminent female artists and makers has resulted in the production of many new fonts for Hallmark’s proprietary type library. Learn how these collaborations have inspired her own lettering and font work both as a developer and lettering source.”
Iconic graphic and type designer Takenobu Igarashi rose to prominence in the 1970s with his groundbreaking poster designs featuring hand-drawn, three-dimensional typographic drawings. Recognising the design worth in Takenobu’s designs, Volume, are publishing the first book on his work, looking into the designer’s three-dimensional type in forensic detail.
Rather than technical perfection, he wants his typography to “convey a feeling”: “it’s the imperfections that inspire me more”, Fabio tells It’s Nice That. His typeface, Güggeli, was inspired by “a house in Denmark with windows that were always totally awry. It’s not the most legible font, but it’s one that conveys a mood”. The balance between clarity and playful details is explored in his second typeface, Increase, too. “It’s chaotic and stubborn, but also very personable,”
In its latest issue, published this month, leading design magazine Novum focuses on the bold and ever-popular black and white design aesthetic. The magazine commissioned Munich-based studio Melville Brand Design to design the front cover; emphasising the monochromatic contrast with a handmade cover for the entire print run.