Our daily lives are full of noise, but when we immerse ourselves in reading, it seems to disappear. But what if the shapes of the words we read also contain perceptible noise? Does it disrupt the reading process, or do we learn to filter it out?
Xavier Dupré is a world-renowned type designer. After studying calligraphy and typography at the Scriptorium de Toulouse, France, he collaborated with Ladislas Mandel. Since then, he has established himself in Cambodia where he designs typefaces with as much freedom as possible. He appreciates Licko’s creativity, as much as the fluidity and calligraphic tensions in Slimbach’s works, and the simplicity of the design of Carter or Unger. Xavier began type design on screen but then moved back to pencil drawings on tracing paper and even painting with gouache.
An American Gothic from Type Supply, smooth and balanced forms by Typefolio, an innovative face from Optimo, an Art Deco inspired gothic by Neil Summerour, a dynamic slab-serif from FontFont, a calligraphy style face by Great Lakes Lettering, a brush flavoured script from Fontfabric, and a hand-lettered family by Debi Sementelli.
A contemporary serif from Klim, a hand crafted family by Laura Worthington, a modern classic from Linotype, a transitional serif by Canada Type, a technical sans from The Northern Block, a handmade face by LeType, a humanistic sans from GarageFonts, and a beautiful script by Insigne.
A brush script from Sudtipos, a unicase face by Latinotype, a graceful script via Fairgoods, an optimized serif from Nootype, a plump display by Fontyou, a functional sans from The Northern Block, a strong family by Colophon, a modern rounded sans from Typedepot, another exotic face by Fontyou, and a delicate sans from Tipo Pèpel.
A sultry script from Positype, a new level of trimming by Letters from Sweden, a confident sans from Rene Bieder, compact headlines by Typodermic, a layered family from S-Core, a new sans by Wiescher Design, a handwritten serif from La Goupil, and a classic didone by dooType.
Calligraphic flair by DSType, a geometric stencil from Talbot Type, a tempered sans by MVB Fonts, a warm slab courtesy of Dada Studio, a fluid script from Sudtipos, some hand-drawn lettering by Mike Rohde, an art deco inspired face from Tilo Pentzin, a vintage sans by Hold Fast Foundry, geometric forms from HVD Fonts, and a tribute to Ladislav Sutnar by Suitcase Type Foundry.
An energetic upright from Type Together, a geometric sans by Lucas Sharp, a neutral sans from Wordshape, a graceful script by Giuseppe Salerno, a family full of character from Exljbris, a good humoured face by OurType, a Japanese inspired family from Thinkdust, a soft script by Maximiliano Sproviero, a Eurostile inspired sans from TypeManufactur, and a friendly family by Nootype.
Ahhhhhh…! That wonderful aha moment when we see the spark in our students’ eyes—when they realize that typography reaches far beyond the font list under the type menu on the computer. The tricky part is getting to that aha moment! When students are learning about typography, is it far too easy for them to simply type out words, choose a typeface and go. The problem is, some novices stretch the type until it becomes so oddly distorted that it looks like a reflection from the “fun house” mirror; some may increase the size larger than the design was ever intended to be; some load free fonts that are so poorly designed with awkward shapes and spacing that one who knows and appreciates typography can actually feel the acid in his or her stomach turning; some simply use Myriad on their designs because it is the default typeface (a good reason to suggest never to use that typeface unless it is backed up with a very good reason). The ultimate goal is for our students to love, honor and respect typography, but getting to that point can be an arduous task and sometimes a painful experience.