A whimsical serif by FontFont, a Dutch inspired family from Bold Monday, a scribble inspired face by Letters From Sweden, a rounded sans from 205, a contemporary display by Alex Trochut, a mellow sans by S-Core, playful icons from Symbolset, and an elegant sans by Rene Bieder.
A geometric sans from Positype, a contemporary grotesk by Josh Finklea, a carefree sans from Kyle Wayne Benson, a bold brush script by Fenotype, a lively face from Fontsmith, a hand drawn family by PintassilgoPrints, a friendly sans from FaceType, and a happy script by Wiescher Design.
In the spring of 2012, Stefania Malmsten became the new Creative Director of Swedish fashion & culture magazine Rodeo. Stefania was living in New York at the time, working with Swedish and American clients from the collaborative workspace Studiomates in Dumbo, Brooklyn. She had decided to move back to Sweden where she had started her career with designing iconic magazines like Pop and Bibel.
It was March 2nd, 2011, and I was fifteen-years old. I was in the clouds. My font family, Expletus Sans, had just gone live on the Google Webfonts Directory (now simply called Google Fonts). Plenty of positive feedback and a generous reward from Google had made me expect a lot of it. But it didn’t take very long before I started laughing at the high regard I once had for Expletus Sans, and its silly name. The elegance I once saw in it was soon mixed with a decent dose of clumsiness and amateurism. However, Expletus Sans did provide me with the motivation and opportunity to invest in my skills, and keep designing typefaces.
A geometric script by Kyle Wayne Benson, a technical workhorse from Hold Fast Foundry, a lined display by TipoType, a classic grotesque from Parachute, an upright script by Stephen Rapp, a contemporary family from PSY/OPS, a geometric sans by Nootype, and an elegant script from Misprinted Type.
A space saving serif by TipoType, a geometric sans from FontFont, a handpainted face by PintassilgoPrints, a workhorse family from Typotheque, an elegant serif by Nootype, a legible slab from FontFont, a contemporary gothic by Talbot Type, and a chic serif from Typonine.
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?