James Edmonson of OhNo TypeCo’s latest article talks about the business of starting out in the type design business and the shortcomings of his debut typeface. “I was too excited, eager, and inexperienced to care. Obviously, one cannot see the things one cannot see, but slowly, mistakes born of naivety began to show their ugly faces one by one.”
Pedro Arillia wrote this insightful article on using the right symbols in the right place: “We savour the silent sonority of words, the intimate rhythm of a sentence, the vibrant materialisation of language in black and white, and the stimulating arrangement of plumb soldiers. We both (you and me) are devoted lovers of the written word; and between us (you — the reader, and me — the writer) there is a vital link called typography”
Design writer Robin Rendle reviewed one of my all time favourite Typography Books; Inside Paragraphs by Cyrus Highsmith. “The book is also beautifully designed with Cyrus’s wacky and crooked illustrating style that makes it feel more like a children’s book than a serious one devoted to the art of typesetting (and it’s designed in such a way that the visuals never feel patronizing either).” Do yourself a favour and buy the book here!
There has been a lot of debate on twitter over this article and the movement calling for the revival of ‘lost’ punctuation marks. There are two tribes of thinking - first that these symbols add to our linguistic expression, while others debate that emojis function better making these (and other marks) redundant. I am in the revival camp - these forgotten glyphs should make a comeback!
Alphabette Veronika Burian published this article on giving credit in the type industry. Crediting authorship is not standarised. It varies across different disciplines, crediting in type design depends on the foundry or studio policies, and, somewhat, on their generosity toward their workers. Although crediting seems a straightforward task, it has proven quite the opposite.
“I have always been interested in the topic of synesthesia and I wanted to explore typography together with sound” Zheng told Typeroom of her LOOK/HEAR project which explores the relationship between scenes and soundscapes, looking and hearing. “A system of aural and visual signals generates shifting typographic forms and triggers associations about people and environment”.
What feeds the inspiration of the designer? Observation. As a typographer I love words, but I am also enamoured with the concept of this book… Every picture tells a story without words, in the language of form. Morrison responds to the arbitrariness of form with simplicity and complexity, poetry and humor in a repertoire of compelling designs. A World Without Words is a pocket-sized school of seeing.
Northern Block published Spencer (designed by Sofie Beier) which was based on super interesting research into legibility, homoglyphs and commonly confused forms in typography. This calligraphic semi-serif has been carefully designed to provide easily distinguishable letterforms that are practical in use, as well as aesthetically appealing.
This is a fantastic and richly illustrated article. “Working with type is a lot more fun when you’re worrying less about rules and instead are constantly trying to form new connections with words. Treat every paragraph, line and letter as an opportunity to make your work better, and I promise you’ll have more fun with typography, and your work will be stronger as a result.”