Berlin-based Martin Wenzel might be best-known for his TDC-awarded sans serif family FF Profile. He runs his own studio, focusing on type and communication design and teaches type design at the Design Academy Berlin. Martin also runs his own shirt store WordsOnShirts that features some nice hand lettering designs.
By Elliot Jay Stocks
When Johno first asked me to write about Typekit, I jumped at the chance. I’d received a beta invite to try out the service about a week before, but deadlines had got in the way of actually getting round to it. Now I had the perfect excuse to have a proper play, create a test site, and immerse myself in the technology that got the web design community frothing at the mouth when it was announced a couple of months ago.
However, as I started to experiment with Typekit, I realised that the really interesting thing isn’t the technology itself: it’s what Typekit — and other services in the same vein — mean for the way we experience type on the web. And I’m not talking about it from a user’s perspective, where they get to see the end results of using a variety of typefaces, but from the web designer’s perspective: the way in which we’re going to be using and paying for fonts.
Untangling the tangle
With all the talk about web fonts, I think it’s time I tried to outline the present situation. I’ve not attempted to do so before, owing to the complexity of some of the material, and the speed at which things are moving.
The week in type is coming very soon. In the meantime, I thought you might enjoy this video from Pierre Smeets and Damien Aresta.
Great, fun project. If you decide to have a go, then please refrain from type design in built-up areas. Oh, and wear your seatbelt.
Welcome to another roundup of what’s new in type. If you missed the interview with French type designer Alice Savoie, then be sure to take a look. Alice’s next typeface, Capucine will be released through the Process Type foundry. Follow them on Twitter, and you’ll be informed the moment it’s released.
Alice Savoie started out with a foundation course in Applied Arts and then studied graphic design and typography for four years in Paris. She then set sail for the UK to follow the MA in Typeface Design at Reading University. Upon graduating in 2007 she relocated to London to work as a graphic designer. In March 2008 Alice joined Monotype Imaging as a full-time type designer.
by Aegir Hallmundur
Every year The St Bride Foundation holds a lecture in memory of Justin Howes, a great typographer and historian who was instrumental in supporting the St Bride Printing Library. He re-established the firm of HW Caslon, published books, organised exhibitions, delivered lectures and worked with the Type Museum in Stockwell, finally moving to the Plantin-Moretus Museum in Antwerp before his death in 2005, aged 41.
By Dan Rhatigan
This July, the Department of Typography & Graphic Communication at the University of Reading is offering a week-long, condensed version of the MA Typeface Design course it has been offering for the last ten years. It may only last 5 days, but it promises to give a small group of participants a chance to spend all of that time getting some insight and feedback from the core staff at Reading — Gerry Leonidas, Fiona Ross, and Gerard Unger — along with some brief sessions with a few more of us who work with the department.
The Week in Type
I will soon announce ILT’s gargantuan give-away. There are 40 prizes, from vouchers to buy type, and books, to posters and Helvetica Moleskines. As soon as ILT hits 40,000 RSS subscribers, I’ll run the competition. Basically, I’ll do it like this: 20 prizes for the best-submitted type tips; the remaining 20 prizes will be distributed randomly to those who follow me on Twitter. If you haven’t already subscribed, then all it takes is a mere click.