The last five months have been pretty intense. Creating a 164-page magazine from scratch is an enormous project and, looking back, I’m happy that I was naïve enough to think it could be done. Along with Carolyn Wood and Working Format we think we’ve created something very special indeed.
BY NICK SHINN
There are many OpenType features that can be built into a font, but Contextual Alternates is something special.
Swash characters, ligatures, small caps and figure variants are all very well, but they merely duplicate cleverness that was available prior to digital type. The Contextual Alternates feature however, in which the choice of glyph alternate for a particular character is set automatically with reference to an adjacent character, enables new possibilities for the type designer. Consider it as ‘smart fonts’, because the appearance of typography is determined not by the person laying out a page, but by a font’s response to the particular words that comprise the text.
Ever since I started to draw type, one of the challenges that has intrigued me the most is figuring out how letters carry their weight. Arranging thicks and thins and determining the contrast between them is crucial in assembling the systems of shapes that form a type design.
The Week in Type
Before I dive into this week’s the week in type, I’d like to tell you a little more about Codex, the journal of typography. First, I’d like to introduce the Codex team: the Editor in Chief, Carolyn Wood and Assistant Editor, Allen Tan. It’s a joy to work with them — a mixture of many late nights and hard work with laughter and occasional obsessive-compulsive behavior. It is without a doubt the most incredible, most rewarding project I’ve ever worked on. Working Format in Canada is designing the magazine, and the latest proofs I saw are wonderful. The supporting cast includes H&FJ’s Knockout and Commercial Type’s Lyon, gracing 144 full-color pages. The magazine measures about 8″ by 11″, (approx A4).
The week in type
Hope you enjoy this week’s week in type. To kick things off, lets all give a warm hand to the makers and bakers of the fonts that made it into MOMA’s permanent collection. Particularly happy yo see Barry Deck’s Template Gothic in there — one of my all-time favorite quirky display types.
The Week in Type
Two thousand and ten has been something of a blur, but it’s been a good year. It’s been another good year for type design and typography, with some great new work, and some wonderful new type designs. So, to ease you into 2011, and the wonders that await, I present to you the week in type.
New York – Diego Vainesman, President of the Type Directors Club, has announced that the fifty-seventh annual Type Directors Club competition, TDC57; the fourteenth annual TDC Typeface Design Competition, TDC2 2011, and TDC Intro 011, dedicated to movie title design, Calls for Entries, will not be mailed this year. Entry forms and instructions on the TDC web site.
The early bird deadline for all the competitions is Friday, December 17, 2010. In the design competition, there are several changes to the categories this year, one of which is Best in Show.
TDC57 is chaired by Roberto de Vicq (deVicqdesign). The jury includes: Art Chantry; Arem Duplessis (The New York Times); Fons Hickmann (Fons Hickmann m23, Berlin); Mario Hugo; Jason Kernevich (The Heads of State); Angela Voulangas, and Bruce Willen (Post Typography).
TDC2 2011 is chaired by James Montalbano (Terminal Design). His jury includes: Jos Buivenga (exljbris Font Foundry, The Netherlands); Jessica Hische, Steve Matteson (Ascender Corp.), and Charles Nix (Scott & Nix).
TDC Intro 011 is chaired by Jakob Trollbäck (Trollbäck & Company). The jury includes: Karin Fong (Imaginary Forces); Randy Balsmeyer (Big Film); Timmy Fisher (MK12), and Mark Kudsi (Motion Theory).
The winners works will appear in the Type Directors Club annual, Typography 32, designed by Matteo Bologna, Mucca Design, and published by Collins Design, an imprint of HarperCollins International. The annual will be available in bookstores.
The winning entries will also be exhibited in seven traveling shows beginning in the summer of 2011 in a New York City as well as in cities worldwide.
The Type Directors Club is a non profit professional organization, celebrating its sixty-fifth anniversary. TDC is dedicated to educating its international membership and graphic arts community about type, type design and its myriad of uses in the field of communications.
the week in type
Perhaps you thought ‘The Week in Type’ was dead. Well, this post marks its resurrection. It won’t be weekly just yet, but from 2011 it will be: a weekly roundup of new releases, type and lettering to inspire, type tips, videos, and lots, lots more. If you haven’t yet subscribed to ILT, then do so now — that way, you’ll never miss a thing. So, ladies and gentleman, without further ado, I present The Week in Type. Enjoy.
Curated by Graham Bignell & Richard Ardagh, Reverting to Type will showcase the work of twenty contemporary letterpress practitioners from around the world.
10th–24th Dec 2010 and 4th–22nd Jan 2011
Standpoint Gallery, London.
For more information see New North Press.