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.
Each design has an individual purpose, they all share the commonality of celebrating the variable font. Variable fonts surfaced in the 1990s during an ambitious revamp of the Macintosh graphics system. But the early era internet couldn’t support them. Today with hyper-advancements in web development, designers are experimenting with variable fonts like never before, crafting new tools to fulfil their typographic curiosities.
Canadian Gerald McGoey was judged to have falsified documents in an attempt to protect certain assets from bankruptcy proceedings because—the documents used Microsoft's Calibri & Cambria fonts, which didn't become widely available until 2007. This would have been fine were it not for the minor detail that the documents were dated 2004 and 1995.
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.”
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.
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.
It is interesting to see how color fonts are being used in new ways and in particular how for the first time all identities can be rendered into usable fonts.