I am a long time fan of Craig’s work. His typographic experimentation is incredibly exciting I particularly love his manipulation of type in space and testing of legibility for expressive means. Unsorted chatted with Craig about his career to date in this excellent insight into one of the most important typographers practicing today.
The baseline is one of the foundations of legibility, allowing letters to be read in a flowing fashion along a horizontal line our minds construct. So how did type foundries keep a consistent baseline? They did not. At least for most of the first four and a half centuries of printing before industrial scale had fully set in and before standardization became keenly important as an element of efficiency and productivity. Read this fascinating article from Glenn Fleishman for more.
The issue includes ‘Type Now’ (with articles by Jan Middendorp, Sarah Snaith and Peter Biľak on three burning issues in contemporary type); an article about the late Bram de Does; Ferdinand Ulrich visits the living archive that is Rainer Gerstenberg’s foundry in Darmstadt and Paul Barnes’s excavation of the St Bride ‘treasure trove’ that inspired Commercial Classics. Eye Before You Buy’ the special issue here
I was invited to contribute to Idealog's creativity month on behalf of Design Assembly; I am not a farmer, but I try to think like one often in my design practice, as I believe for designers, creativity like the land is a resource to be nurtured and invested in. Read more about how I invest in my designer dirt here
Steven Heller is a letterhead, in this “confession” he talks about the cult of Letterhead collectors and what we can learn from these graphic and typographic gems“
Book designer Daniel Benneworth-Gray on living, breathing, shopping, reading all things design, being an incredibly dull dinner party guest and dreaming of being a viking. “Being a designer is enjoyable and challenging, and so what if it clutters up other bits of my life? There’s nothing wrong with a bit of clutter – that’s just elements on a page, waiting for order.”
Radical ideas for winning customers and making money in a crowded marketplace. Jess McCarty shares a simple way for type designers and font developers to dramatically increase revenue and market reach, all without spending a penny on advertising, marketing or gimmicks. This talk will explain what the most successful techniques for typographic prosperity “look” like in theory and practice.
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.
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.