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I Love Typography

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

Twenty-ten type

Hoping that everyone is feeling refreshed, invigorated and inspired after Christmas and New Year. That we are now in 2010 is arbitrary, but it is at the same time a marker, the end of something, and the beginning of something else; a kind of armistice, an opportunity to dump all the bad, and begin a anew with the good. Well, that’s quite enough verbiage from me. May I present to you the first week in type of the 10s.

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The Making of Vesper

Vesper was developed over the course of almost three years. For this article, I’ve divided the process into two stages: #1 during my studies at the University of Reading; and #2 After Reading. Hopefully through this highly-condensed-yet-still-rather-wordy account of this project you will learn some interesting bits regarding my first major type family, the design process, and the MATD program.

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Our own alphabet

I don’t usually do these single-item posts, but just had to share this. An alphabet created using items from the Mitchell Library’s broad and eclectic collections—with wonderful results. Some of the letters are accompanied by videos explaining the origins of their constituent parts.

our own alphabet

In celebration of their centenary.

Thanks to @ashmorris

Graphic Masterpieces of Yakov G. Chernikhov: The Collection of Dmitry Y. Chernikhov

GM_Closeup2

Reviewed by James Puckett

Yakov G. Chernikov (1889–1951), was a Russian artist, designer, and architect learned in classical and modern styles. As a draftsman he was on par with Piranesi and Rembrandt; his most forward-thinking drawings resemble the style of Yoshitaka Amano. This combination of knowledge and skill made him one of the most accomplished Russian Constructivist writers and architects; Chernikov designed sixty buildings—although most were not built—and wrote numerous books about architecture and graphic design.

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Wishing on a typeface

By Nadine Chahine

Nadine Chahine is a type designer for Linotype GmbH, where she is also Branding & CI Manager, and Arabic Specialist. She designed Frutiger Arabic with Adrian Frutiger and Palatino Arabic with Hermann Zapf, for which she won the Certificate of Excellence in Type Design from the TDC. Today I’m excited to announce that Nadine’s Neue Helvetica Arabic has just this minute been released.

Neue Helvetica Arabic nun

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The Right Type of Education

By Abi Huynh

Last year Mathieu Christe and Berton Hasebe wrote a very thorough article detailing the general day to day of the Type and Media masters program. With this article we hope to outline an historical overview of the course and provide a brief look at the final project typefaces from the 08/09 class.

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Type: A Visual History of Typefaces & Graphic Styles

Reviewed by James Puckett

I was excited when Taschen announced the first volume of Type: A Visual History of Typefaces and Graphic Styles, described as “This exuberant selection of typographic fonts and styles traces the modern evolution of the printed letter”*. Such language, including the title, is disingenuous, because this book is not a history.

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Sex, lies, & type

Welcome to a slightly later than usual week in type. Lots happening in the world of web fonts — links to the best content below. There’s also free stuff, so don’t click away.

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Type Camp

By Jessica R. Yurasek

Let’s face it, most of the general public does not really understand typography. So when I first tell people that I attended something called ‘Type Camp’ this summer, I tend to garner a lot of puzzled looks. But, smiling bemusedly, the typographic outsider with whom I am conversing, is likely to then ask a question not so far off from my own the first time I heard about Type Camp: what, exactly, do you do there?

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Karbon type

I’m struggling to keep up with all that’s new in type. Exciting times. Lots of great new releases, and some very novel and creative uses of type and lettering. Let’s jump straight in.

I am tempted to try something like this:

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Tungsten type

the week in type

Let’s begin with something tougher than steel from H&FJ. Meet the just-released Tungsten. [insert superlatives here]

Tungsten typeface from Hoefler & Frere-Jones

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Nineteenth Century Designers & Engravers of Type

“The truth of the terse but expressive ‘dead and forgotten’, comes home with peculiar force to the searcher after information about the individuals who have developed the art and craft of typefounding.”
– William E. Loy

The Industrial Revolution is often seen as a black hole in the history of typography. In that era the role of the punchcutter changed to that of a largely uncredited factory worker. Records of who worked on individual typefaces are sparse. Today it can seem as if there is practically no information left about the designers of the nineteenth century.

american-type-detail

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