“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.
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.