Designed by Bernd Volmer Seraphs is font family that encompasses multiple typographic styles in one single system. Unlike other families with a sans and serif style, Seraphs doesn’t stop there. Utilising variable font technology Seraphs delivers 6 genre in one font and allows the user to define intermediary styles meaning the aesthetic possibilities are vast!
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,”
TypeTogether started the Programme as an initiative to help promising typeface design students develop their careers. Dr Gerard Unger, who taught José Scaglione and Veronika Burian and inspired many more generations of young type designers, was an avid supporter of the Incentive Programme from the start.
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.
The third of Niteesh Yadav’s type in AR installments “Rapid advancements are happening in the hardware and software parts of AR implementation, but it is clearly visible that text is a matter of least concern to engineers and developers at the moment… As a type designer, we spend countless hours to get that right shape and in the end, if we see the whole thing rounded off or distorted, that is a huge blow to the heart.”
Quentin Schmerber’s Esad talk on Baskerville in France (and his changing relationship with English typefaces) released as a video capture, its honest, insightful (nerdy!) and delightful - check it out and after the jump note the links on the right to other speakers from the event.
the tremendous bifurcated tuscan HWT Brylski typeface Nick Sherman designed for the Hamilton Woodtype Museum recently became available for free syncing via Adobe Fonts to anyone with a creative cloud subscription. Activate and sync this excellent typeface digital font on your account and the museum will receive a donation without it costing you anything.
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.“
More on the Thickness Illusion and two psychophysical experiments that investigate a visual illusion that is considered common knowledge among type designers, but has never been studied scientifically. Specifically, the thickness of a horizontal line is overestimated in relation to that of a vertical line.