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.
“Every font has a piece of history associated with its creation.” Good Type is a 10-part series by Jamie Neely, and Emma Tucker that offers an in-depth look at different aspects of font design to help designers understand how to choose the right font for a given project.
in “The Smallest Possible Bit“ (an install of Robin Rendle’s Adventures in Typography newsletter) Robin addresses a readers SOS about being stuck on a good typeface and not being able to get past their trusty favourites. I can totally relate and have a handful of fonts I come back to time and time again. Robin’s writing on the matter is insightful and witty
Fontsmith type design director Phil Garnham recently worked with students at Middlesex University to design brand-new typefaces inspired by 'The Future Starts Here' exhibition at the V&A. I particularly loved Antenna by Iveta Rihova. ‘The font is created out of fluid, organic, free form lines, representing tree ring pattern as well as signal transmission. Whispering trees converted into letterforms with abstract approach shall bring the world of nature and technology together.’
Jesse Ragan's Study is the result of a hypothetical dialogue with Rudolph Ruzicka. In this highly illustrated in-depth article Jesse details the process behind bringing the design from a hand-painted alphabet to a comprehensive digital typeface family. With historical background and analysis of design decisions, the piece provides a personal look at how one typeface was made.
Can you imagine transporting yourself through place and time to ancient Rome? Designers Tobias Frere-Jones and Nina Stössinger did precisely this when exhaustively researching their latest release. “This would turn out to be not just a design challenge, but a conceptual historical endeavour, like an archaeological dig.”
Unique stand alone serif’s come together in a collection aimed at those who tell stories. Their diversity and versatility ensures whatever the narrative this suite of faces will provide a memorable voice.
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.”