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I Love Typography

MADE POSSIBLE WITH THE SUPPORT OF
I Love Typography
MADE POSSIBLE WITH THE SUPPORT OF

Ditoria

via @brainpicker

Colosseo

A beautiful new letterpress print from Cameron Moll:

The book & the iPad

Some interesting concepts from Penguin:

The Penguin blog.
via apolaine

Alex Trochut

The Decemberistss poster by Alex Trochut:

The Decemberists

via typojar

Font Haus

Font Haus launches a nicely redesigned site:

New site from Font Haus

Cieszyn Print Library

Some more from the Incunabula:

via Paul Hunt on WLT.

Incunabula

A lovely set of photos of books from the Incunabula [1], from the University of Glasgow Library.

Note the hand below the marginal notes.

footnote divider

Incunabula explained.

Gráfica Fidalga: Printing Days

by Henrique Nardi.

The library of the Gutenberg Museum

By Dan Reynolds

I. Introduction

Large or small, letters seem to inhabit their own universe. Re-arrangeable in any combination, they can spell out all conceivable messages, be they poetic, bureaucratic, or anything in between. But sometimes a text is just about its letters themselves, not an object to be read, but one to be looked at. Type specimens have taken various forms over the centuries, from posters to postcards and from primers to pamphlets. In fact, this web ‘page’ that you are reading now is also a type specimen, at least of some sort. In our digital age, creating type specimens has become easier than ever before. But what did our predecessors do 100 years ago, or even 500 years ago?

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Designing Armitage

Armtg_Illus_5_960

This is the doorway to The Claremount, an apartment building in Manhattan. I think that it was built in the 1890s. Those letters over the door just reached out and grabbed me from across the street and I had a typeface coming on.

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Art and Text

Artist Joseph Kosuth’s 1965 work One and Three Chairs presented a static composition that represents an idea three ways. It was heady stuff, addressing what conceptual artists saw as a crisis of reconciling the realization of concepts with the concepts. One of the three material representations in One and Three Chairs was an enlarged photostat of the dictionary definition of the word chair, making text both a literal and metaphorical focus in a work of art. It was not the first time text had been used in art, but it was a key moment in the conceptual art movement of the time, followed by decades of conceptual artists using text to convey their ideas.

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My favourite fonts of 2009

But will it fly?

Perhaps the most difficult part in compiling this list is not what to include, but what to leave out. There are, then, many other typefaces that should be in this list, but aren’t. Perhaps some of your favorites from 2009 coincide with mine; perhaps they don’t — I’d love to hear about them in the comments below. Without further ado:

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