by Taro Yumiba
by Taro Yumiba
By Taro Yumiba
At university I majored in graphic design. I used to leaf through typeface catalogs in search of letters to use in my poster design assignments. However, I could never find any typefaces that matched perfectly what I had in mind, so I began making my own. I was lucky enough to have access to a Macintosh and Fontographer 3.1 at the university lab. At that time the Macintosh wasn’t particularly popular, and few knew how to use them. I found it great fun making fonts from scratch. It took me some time to get used to drawing letters on the computer, but I can still vividly recall the excitement when my font first appeared on the screen. From that instant, I was hooked on designing type.
After more than 10 years, Verena Gerlach has revised and extended her FF Karbid super family, an interpretation of German storefront lettering from the early 1900s. The new FF Karbid is a harmonized redesign of the original typeface. Rounder and less narrow letters lend the shapes more space and balance. Although the contrast was reduced to obtain a harmonious monolinear typeface (without losing its liveliness) it was increased in the bolder weights to improve legibility and achieve a certain elegance. FF Karbid Display is the most obvious spin-off of the original family. More than merely having been assimilated, the letterforms were revised according to a new concept.
More than half a millennium has passed since the invention of moveable type in Europe. It’s now just about impossible to imagine a world without it. That very sentiment is set in ink in this new print collaboration with Stefan Hattenbach. A sumptuous screen-print of gold, white, and black inks on beautiful red Plike paper. A truly stunning print, and perhaps the perfect Christmas gift!
It’s been a while (too long) since the last Week in Type, so without further ado:
Let’s begin with a smile and this great tee from Able Parris:
A lovely short of Robert Warner dancing with his Golding Jobber press:
Another video. This one a delightful spelling video, and some unusual materials for letterforms:
Practice your kerning (or, more accurately, letter spacing) with KernType.
And read Paul Shaw’s comprehensive review.
All you need is a large chainsaw and an even larger piece of ice. Promo video from Monotype for Kobayashi’s Akko:
A little baffled by Google’s foray into Kickstarter projects. Why would one of the richest companies in the world seek crowd-funding for its fonts. The quality of many of the fonts in their library is pretty poor. Perhaps they should stick to investing in technologies for improving screen fonts, rather than publishing more sub-standard fonts in a market that is already bursting at the seams with crap free fonts. See Stephen Coles’ no-holds-barred Roboto is a Four-headed Frankenfont, where he describes Roboto as an “unwieldy mishmash.”
It’s merger/buyout time: First Adobe buys Typekit. Though Adobe fails and fails again when it comes to software, when it comes to fonts, they’ve done well. If they keep the present Typekit team — and they’ve announced that they will — then it’s a really great move.
Then Monotype (Linotype, ITC, et al.) bought Bitstream (MyFonts). Looks like a good deal for Monotype. Not sure what it will mean for customers. Perhaps this is a good time for new players (distributors/resellers) to enter the market?
In case you missed it, FontFont has a page devoted to free fonts, including FF Nuvo Web Medium.
Typographic Design in the Digital Domain: Elliot Jay Stocks interviews Erik Spiekermann:
Great to see the Ludlow Projectt has reached its funding goal. Still time to add your support:
Oded Ezer has a great new Hebrew Typography blog:
Think you’ve seen it all? Leg hair letters (upper- & lowercase):
I gave up trying to find a segue from leg hair to Matthew Carter, so:
Highlights from Paul Shaw’s interview with Matthew Carter for the TDC. A must-see:
How to enable more languages in InDesign CS5.5
FontLab Studio 5.1 released at last. Now compatible with Lion.
What Should I Look For In a UI Typeface? (comments are more valuable than the article).
The trouble with font classifications
Putting the ‘Fonts’ into Webfonts
Seminario de Profundización y actualización profesional en Tipografía
Interactive Typography Effects with HTML5
James Mosley on the Elzevir letter
My Type of Music
The Typography Out Approach
Video interview with Oded Ezer
Still controversial, but if you are in the yes camp, here’s how Ralph Hermann thinks the capital Eszett should be drawn:
Further details on Ralph’s excellent blog, Opentype.info.
A display type that’s as fat as they come. Meet Daisy from Ludwig Übele:
Erler Dingbats is free to download and use for both private and commercial use. The core glyphs are from FF Dingbats. You can read more about it on the FontShop blog, the FontFeed; and download it here.
Importantly, it’s Unicode friendly, mapping to Unicode address U + 2700 through U + 27BF, so you can use it on websites and embed it in apps.
Many more great new releases featured on Typedia.
Have a fantastic weekend.
A line of text is like a silhouette on the horizon. Closer inspection reveals the detail, the trees, bushes, rocks; details that, though only vaguely perceivable from afar, create both rhythm and variation. The beauty of this landscape is born of both regularity and variety.
By Dan Reynolds
Founded in 1957, the Association Typographique Internationale (ATypI) is a worldwide organization dedicated to type design and typographic-related themes. Reykjavík/Iceland hosted this year’s annual ATypI conference. From 14–18 September, about 250 local and international guests gathered to hear presentations on writing systems, design history, and font production. I attended with the Linotype/Monotype Imaging company contingent, and was fortunate enough to give a presentation on the final day of conference. While this write-up doesn’t cover every lecture or activity, I hope that it lends readers a good feeling of the event’s flavor.
The Week in Type
Hard to believe that 2011 is coming to a close. Autumn is showing its face, and before you know it, we’ll be Christmas shopping. Some inspiring stuff in this week’s The Week in Type. Sit back and enjoy.
As some of you may know, I am the director of a feature-length documentary film about the Linotype type casting machine. About a year ago, I partnered up with two good friends on a journey to document the Linotype and the people who love these crazy machines. After 45 interviews and 26 separate shoots, we have amassed an amazing collection of footage telling the surprisingly emotional and fascinating story of the Linotype.
The type-obsessive, thoroughly inspiring Andrew Byrom in this TEDxUCLA talk, If h is a chair: