Physically, we use our voice, facial expressions. gestures and posture to convey a wide range of emotional cues from the subtle to the dramatic. Typefaces and the way they are used provide a similarly extensive emotional range typographically.
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”.
Jason Pamental believes “Type is how we ‘hear’ what we read” as he was preparing for a recent conference talk a tweet from Nina Stossinger was “poking’ him in the back of the head, “nudging me to think about it more, and how it can (and should) influence how we think about design and typography.” in this excellent article Jason Pamental explores the friction in communicating ideas
For a century, from the 1870s to 1970s, typesetters were routinely paid to set type that was discarded. This “bogus copy” has to due with unions and managers, keeping a decent wage, preserving jobs, and ultimately the end of the era of metal type. Learn about the last man at the New York Times who had a job for life as an outcome of “bogus.”
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.”