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I Love Typography

I Love Typography

Small Caps

by Alec Julien

Small caps are uppercase glyphs drawn at a lowercase scale. A common misconception—unfortunately reinforced by most word processing programs as well as by CSS on the web—is that a small cap is just a regular capital letter scaled uniformly down to a smaller size. In actuality, a proper small cap is a carefully crafted glyph that differs in significant ways from a uniformly-scaled-down capital letter.

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Sunday Type: pointy type

These last couple of weeks I’ve been dreaming of a life-remote control. It need not be particularly high-tech–I just need a big pause button. I’m moving apartments and packing like there’s no tomorrow. Anyway, I’m taking a break from boxes and gum tape, to talk type.

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Typeface Review: Arnhem

By Kris Sowersby

Talent borrows, genius steals

In Erik Spiekermann’s list of favourite five typefaces, Arnhem comes in at No.5. He writes “I Love it for newspapers, magazines, etc. Not so keen on the headline weights, they look too Dutch for my use (perhaps too Ungerish, but then Fred is also from Arnhem). But the text weights are a superb modern interpretation of a legible serif with an edge.” This sums up the essence of Arnhem—a very legible serif with an edge.

I first encountered Arnhem in Norman Potter’s “What is a designer” published by Hyphen Press. It is set beautifully, with a good point size, rag-right and suitable leading. Arnhem really works well; it is calm enough for extended reading yet retains enough personality to save it from lapsing into mediocrity and the reader from boredom. It has an understated feeling of seriousness, a fitness of purpose that isn’t betrayed by any unusual or distracting details.

Arnhem was released by OurType in 2002. It is designed by Fred Smeijers, a first generation digital type designer. (His typeface Quadraat was one of the first designs to be distributed by FontShop in 1992.) He is currently a partner in OurType, a digital foundry founded in 2002. According to their website, Ourtype “publishes newly designed fonts that are tailored to contemporary needs… So it stands apart from those who are enslaved to the new and those who merely try to recreate the past”.


The OpenType Standard text styles of Arnhem has a fairly basic character set, the usual standard accents (no macrons, though) with lining and old-style figures, small caps and two f-ligs, ff and fl. This is slightly disappointing, as one expects a bit more depth with OpenType. Hopefully there is a ‘pro’ version of Arnhem planned with all the bits.

What Arnhem lacks in depth, it makes up for in breadth. The family can be safely split up into text and display styles. The text styles have 4 weights, Blond (light) to Black with italics, and the display variants have been labelled Fine, with two weights and italics. Surprisingly, the roman text weights have all been duplexed onto the same widths—meaning that one can change from any weight to another and the letters will occupy exactly the same space! Happily this wee trick doesn’t detract from the actual design of the letterforms, none of them have been compromised by the duplexing.


The overall stress of the face is subtly vertical, but the excellent modeling saves us from the eye-strain typically caused by lesser Modern types. The bowls are gently modulated from thick to thin, as are the arches of ‘n’ ‘h’ ‘m’ and ‘u’. The serifs have shallow brackets with an easy wedge shape. The overall detailing seems initially sharp and spartan, but if looking closer at the ascender serifs one notices a slight rightwards finish, lending a lovely movement to the line of type. The eagle-eyed will also notice the ‘k’, its arm and leg not quite joining the upright stem. And the ‘g’! It works so well within the confines of the design—the ball-shaped ear breathes a good amount of life into the face.

The italic styles are good companions to the roman. They provide the right amount of contrast without resorting to flashy tricks or self-conscious styling. Smeijers has kept the counters open, the entry serifs horizontal and the departing serifs at a decent length. The strokes are slightly modulated, the ‘x’ ‘v’ and ‘y’ strokes are slightly curved, and the ‘z’ descends slightly below the baseline. Thus the italic has feeling, enough finesse to keep it from becoming a dullard subordinate to the roman.

Looking at these details, enlarged, is a mite unsettling. There is an urge to smooth out some curves, to fix the odd serif. But this impluse must be avoided, as the text styles must be judged at text sizes. Smeijers has anticipated this by designing Arnhem Fine—essentially display versions. Certain details like the ball-terminals of the ‘a’ and ‘y’ have been erased, the serifs seem lighter and broader, and the overall contrast of the face is increased. It is most definitely sharper, the moniker ‘Fine’ is certainly fitting.


Arnhem is an elegant workhorse; it is eminently useable. It is quite telling that Spiekermann, the designer of Meta, ranks it in his top five typefaces. To use Arnhem is a pleasure and it will surely imbue a feeling of pride and certainty in a typographer’s work without leaving the reader in the cold.

For the record, Spiekermann’s other favourites are 1. Reklameschrift Block; 2. Akzidenz Grotesk Mager; 3. Concorde; 4. FF Clifford.

[Kris Sowersby is a professional type designer from New Zealand. You can see his own typefaces at Village.]

Sunday Type: sponge type

The Passionate Printer

First up we have a type feast from one of the world’s most popular ‘interiors’ blogs, Design Sponge. Included in the list are some of those we’ve mentioned here before, but there are numerous other examples of ‘living with type’, such as these large reclaimed metal letters. Imagine some of these in your living room:


There’s even chocolate Scrabble,


though I’m not sure how long a game would last.

You could say that Mark Simonson is on something of a roll. I mentioned his Filmotype Glenlake a couple of weeks ago; well Mark has another lovely script for you. This one’s a 1940s-inspired brush script called Lakeside, accompanied by all the OpenType features we’ve come to expect from a Simonson font.


Next is a great little tutorial on Paragraph Styles:


Hamish, author of the wonderful WordPress Typogrify plugin, has an article that will be of special interest to just about anyone who writes code. In The Typography of Code, he considers five typefaces for programmers. Bitstream Vera Sans Mono (free and Open Source) is probably my favourite, though the newer DejaVu, based on Vera Sans’ design, with a much larger character set is definitely worth taking a look at.

Some Type for Kids

Jairo sent me this link after watching the kids program WordWorld. I don’t have any children myself, but I did watch an entire episode (for research purposes of course):


LivePen is an interesting tool for those who like to draw letterforms in Adobe Illustrator. I haven’t used it yet, as the Mac version isn’t ready. However, it is currently available for Windows + CS2.


If you do use it, then be sure to let me know what you think. You can try it out for free.

And some gorgeous letter-pressed posters from the talented Douglas Wilson, printed on a variety of substrates, including old maps. Well worth taking a look:


I’m also a fan of Frank Chimero‘s work:


Miscellaneous links

For iLT’s French-speaking readers, this is a good little site, with some type-related posts: Zone d’information opaque.

iLT PodCasts?

This is an idea I’ve been toying with, and thanks to Alec Julien, a regular iLT contributor, it could become a reality. We have two videos to get you started. The first is a tutorial on how to create discretionary ligatures in FontLab:

and the second I’ll post mid-week. I’ll create a new section of the site specially for these videos, and although it’s unlikely you’ll see my mug on any of these videos, I do have some interesting ideas for PodCasts, so stay tuned. I will also add these videos to iTunes, so you can subscribe to them. (right now silly iTunes won’t let me setup an account because although my address is in Japan, my credit card is British. And I can’t sign-up for iTunes US or UK, because my credit card’s address is in Japan–stupid really. If anyone from Apple is reading this, please get it sorted.)

A little light relief

First is this license plate from typenut Duncan:

KERN license plate

and this light-hearted type dating game from Amanda.

And I absolutely love this this video from a very impassioned printer. Thanks to the ATypI Mailing list for this one:

YouTube Preview Image

Sunday Font

And today’s font is PowerStation from the Umbrella Type:

powerstation from umbrella type

I hope that’s enough to keep you going until mid-week. Some really great stuff to come, so stay tuned.

It was really tough choosing a winner for the FontBook in a movie competition. All the entries were great, but the winner is Christian Neumann, who wins a copy of Bringhurst’s The Elements of Typographic Style. All of your entries have been popping up all over the web.

Oh, and if you missed the interview with Jean François Porchez, be sure to take a look–great insights from an even greater type designer. And talking of great type designers, coming up we have those articles from Kris Sowersby, so stay tuned and have a great Sunday (what’s left of it), and I’ll see you all again mid-week.

buy fonts from Veer

An interview with Jean François Porchez

You’ll see his typefaces on the Paris Métro, gracing the pages of France’s premier newspaper, Le Monde, in magazines and books; even Beyoncé uses them. He was awarded the Prix Charles Peignot for excellence in type design, was president of ATypI, designed one of the best modern-day type revivals, and…. Well, there’s so much more that can be said by way of introducing this great talent of type, but I think John D. Berry sums him up best when he writes, he is one hell of a type designer.

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Sunday Type: Frodo Type

Birthday Cupcakes

This week iLT is six months old. She’s doing quite well thanks to all of you: one million page views, almost 3,000 comments, and about 70 posts–though it feels like more. So if you have a spare minute, then pop a party popper, throw a streamer, crack open a bottle of Champagne, light a candle–that sort of thing.

Anyway, this is Sunday, so it’s time for Sunday Type. Let’s start with a type: Estilo Text from Dino dos Santos. I mention it for two reasons: one because it’s an expanded version of Estilo Script and Estilo and secondly because it’s on sale:


You may have already seen it; it’s not new, but I was trying to find it the other day, when coincidentally Romain sent me the link:

YouTube Preview Image

FontBook in a Movie

I received quite an impressive response to last week’s FontBook in a movie competition, inspired by Hamish’s Mel Gibson piece. This one is from Christian:


Apologies that I can’t mention them all, but here is a selection (click any of the images for an enlarged version). I was going to put little star rating gizmos below each entry, but gave up when I realised it would take me hours to do this within WordPress. So, by all means comment about the entries, and I’ll add my own opinion, and announce a winner next week some time.

The 10 CommandmentsThe GodfatherLord of the Rings
(a) Mischa(b) Vlad(c) Christian
CasablancaFontBook of OzBraveheart
(d) Alec(e) Gemma(f) Hamish
(g) Ian(h) Arild(i) George

And here’s another from RogueJunkie. Not surprisingly I received several sexually explicit ones; one was particularly ingenious, but not quite publishable. Thanks to everyone for their entries. It was great fun, and brightened up an otherwise busy and unusually stressful couple of weeks (cue sad violin music).

Well, we’ve had chocolate type and potato type, and now we have cupcake type from Gemma over at For the Love of Type:


Can you name the typeface?

Type Friday / Type Neu

Eric sent me a mail about this new Flickr Group, Typography Friday:

type friday

Type Neu is a relatively new type site with daily posts. I wonder if iLT will make it into their ‘relevant links’ section? ;)


The above poster was featured on TypeNeu and is part of Dante Carlos’ Letter By Circle project. I like it.

Miscellaneous links

An interesting discussion on whether there’s a need for scientific tests for readability/legibility on Typophile.

Erik Spiekermann speaking at the University of Ulster for the FiFFteen exhibition.

Coming up

Next is the interview with Jean François Porchez. My fault that it’s been delayed, not Jean François’. We also have some more articles from Kris Sowersby, and a review of Gerard Unger’s While You’re Reading, one of my favourite books of 2007, and of course lots, lots more, including articles from new contributors!

A big thank you to iLT’s new translators to join the growing team. The latest members are Vitor Mazzeo for Portuguese and Uta for Chinese. More languages to come soon. If you write and translate well, and you’d like to help out, then send me a mail.

And finally

Does anyone know when the new edition of Counterpunch is due? Oh, and it’s Valentine’s day soon (I’ve forgotten which date exactly), so there are Valentine’s Font packs appearing everywhere. Utter nonsense in my opnion. If you want something romantic, then just go for an elegant script; and they don’t come much better than this:


However, if your girlfriend leaves you because you bought her a font rather than a 127-carat diamond engagement ring, don’t blame me.

Have a great Sunday!



Recentemente recebi através do correio algo grande, amarelo e pesando 3 kg. Não, não é uma banana geneticamente modificada, mas o FontBook do FontShop, a enciclopédia do tipo. Este livro realmente deveria vir com uma advertência de saúde: o meu carteiro quase teve uma hérnia entregando-o e muito perto de torcer seu pulso tentando segurá-lo com uma mão enquanto passava-me o recibo com a outra. No entanto, com algumas 32.000 amostras de tipos, 1.760 páginas e 100.000 notas e referências cruzadas, não creio que o FontShop publicará uma versão pocket tão cedo.

Levei oFontBook tao meu café local, onde muitas vezes trabalho à noite e completos estranhos aproximaram-se (incomum no Japão); várias pessoas disseram “ookii isto desu ne!” (grande livro, hein!), enquanto outros simplesmente perguntavam-me do que se tratava o livro.


Além da marcante capa amarela do FontShop, o conteúdo é prefaciado por uma seção ‘como usar este livro’ em Inglês e Alemão; contudo, para ser franco, você poderia ser um marciano e/ou apenas falar Zangalulob e ainda encontrar o seu caminho pelo livro sem problemas. Os tipos são organizados em oito grupos principais: Sans, Serif, Slab, Script, Display, Blackletter, Symbols, e Non-Latin.

Referências cruzadas

Minha característica favorita do livro – e isso deve ter levado anos para preparar – são as amplas referências cruzadas. Por exemplo, eu estou procurando por algo semelhante a um de meus favoritos tipos, Swift (a) de Gerard Unger. Posso ir para a seção Serif – onde todos os tipos estão organizados por ordem alfabética,… p, q, r, s,… Swift! A referência cruzada na margem interior exibe um olho-ícone (denotando tipos similares); e listados estão ITC Charter (b), Demos, Hollander e Bitsream Oranda. Um recurso muito simples e muito poderoso.


De fato eu gostaria de ver este adicional desenvolvido, de modo que, por exemplo, eu estou procurando um bom sans serif para a Swift e há uma referência cruzada que aponta uma à mim. Também gostaria de ver um índice de nomes. De qualquer forma, são as referências cruzadas que fazem isso para mim, tornando o FontBook uma valiosa ferramenta para quem utiliza o tipo. Não deveria haver estúdio sem ele na sua biblioteca.

Depois de passar mais ou menos uma hora folheando através das suas páginas, o glutão que explode de Monty Python, Senhor Creosote veio à mente. Depois de consumir cerca de 20 cursos, quatro garrafas de vinho tinto e seis caixas de cerveja, o Maître D, encenado por John Cleese, recomenda “E, finalmente, monsieur, uma fina bolacha de hortelã.” Tipo glutões entre vocês simplesmente não conseguirão resistir apenas a mais uma fina bolacha de página.

Em termos absolutos, $ 99 não é barato, mas isso não é novela de brochura descartável; é uma enciclopédia de 3kg com 1.760 páginas. Em termos relativos o FontBook é mais barato do que 20 refeições do McDonald’s.


Os cínicos entre nós (e eu posso ser um também), podem argumentar que o FontBook é um instrumento de marketing destinado a vender mais fontes. Ele pode muito bem vender mais fontes – o FontShop não é um Samaritano. No entanto, quando se considera o tempo que foi canalizado para a elaboração este livro e os custos de produção, duvido que o FontBook seja o preço da vaca. Sugiro que ele seja apenas o produto de uma paixão pelo tipo, publicada não tanto com ganhos pecuniários em mente, mas simplesmente porque seus autores amam o tipo.

O FontBook é para o tipo aquilo que a casa de chocolate é para os chocólatras.

Provavelmente vale a pena roubar um banco por este livro (sem violência, claro). No entanto, se você for capturado e, independentemente do que você faça, não mencione este artigo e reze para que Erik Spiekermann esteja no júri. Se você não ouvir falar de mim por um tempo, então é porque Mafia Maurice e Billy the Bruiser não deixaram-me usar a ‘Internet’ na Cela do Bloco H – até que eu execute favores de uma natureza inteiramente não relacionada com o tipo. Acho que só então eu vou apreciar o fato de que o FontBook pese 3 kg. Enfim, vamos esperar que eu seja encarregado da biblioteca da prisão.


Tipografia de prisão.

E há um prêmio se você puder dizer-me quais os três tipos que eu usei no cabeçalho “i” (1) “love” (2) “typography” (3). Uma correcta entrada será selecionada aleatoriamente e anunciada nesta semana no Sunday Type. O vencedor receberá uma cópia dotypography today de Helmut Schmid.

Leitura futura:
One Book to Specify Them All. Khoi Vinh of Subtraction entrevista Stephen Coles do FontShop.
FontBook on FontShop, com amostras de páginas em PDF.
FontBook–o filme.

Porque Bembo Cansa

By Kris Sowersby

Num recente painel de discussão sobre o design do livro na Nova Zelândia, eu critiquei o excesso de Bembo em muitos livros na Nova Zelândia. Como muitas perguntas foram feitas mais do que poderiam ser respondidas, eu escrevi este artigo para explicar. Permitam-me começar com uma breve história.

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Muitos de vocês já ouviu falar de Kris Sowersby e algo me diz que vamos ouvir muito mais sobre ele. Ele é o cara atrás das sans serif tipográfica National e das serifas tipográficas Feijoa; ele esteve também na equipe de três que criou (possivelmente o tipo do ano?) o FF Meta Serif.

Como você começou a desenhar o tipo?

Houve um ponto na escola de desenho quando percebi que eu gostava de desenhar letterforms, tanto que eu preferia fazer caracteres tipográficos do que ser um desenhista gráfico. Acho que foi quando estava desenhando/copiando Bembo  letra por letra, tentando entender como foi juntado. Notei que o arco do ‘n’ sutilmente se curva para a direita durante todo o trajeto na serifa.


Por alguma razão aquilo chocou-me, foi bastante surpreendente. É um detalhe que pareceria bastante inócuo, mas ainda empresta tanto calor e caráter à impressão impressa total. Ainda tenho aquele esboço, ao lado dele escrevi “Bembo enxadrezado!”.

Por que Desenho de Tipo (ao contrário de, digamos, luta livre com urso no circo)?
Porque eu adoro! Qual outra razão pela qual eu passaria inúmeras horas fazendo isso?

Because I love it! Why else would I spend countless hours doing it?

The Love of Type

Qual é a sua parte favorita no processo de desenho?

Tenho duas partes que são as minhas favoritas, se me é permitido dizer. O primeiro é o início esboçar & desenhar, compreendendo o como & o por que da face. Esta é a parte mais criativa, atraente do processo. A segunda parte é o acabamento tipográfico, pegando na prateleira ou entregue ao cliente. Isto é bom por duas razões: o trabalho é completo & posso ser pago.

Qual é a sua irritação relacionada ao tipo mais grande? (de Lauren)

Tenho várias. (Por favor tenha em mente que esses não me deixam aceso à noite. Tenho outras ‘irritações’ que são não-tipográficas & muito mais importantes.) Um seriam os comentários infinitos, mal informados que algumas pessoas fazem na Internet. A Internet parece tirar o pior da gente! Um certo software de desenho do tipo é carrinho de bebê & a frustrante, é um estorvo ao trabalho.

Os desenhistas gráficos que talham caracteres tipográficos existentes em nome ‘da inovação’ ou ‘fazer algo diferente/legal’ me faz girar os olhos, quero com isso dizer acrescentar uma serifa, cortar uma serifa, arredondar um terminal, acrescentar um feio swash etc., etc. O pior é ver realmente bons caracteres tipográficoa serem mal usadosl. Isto é sempre decepcionante.

Qual a única coisa que você gostaria que todo desenhista soubesse sobre o tipo? (de Roger Gordon)

Como utilizar corretamente o tipo. Não necessariamente penso aderir à censura da Nova Tipografia ou o Cálice Cristalino ou o Novo Brutalismo ou algo assim. O que realmente quero dizer é:

1) A maioria dos caracteres tipográficos têm ambientes nos quais eles realmente brilham, certos usos que nunca falham.
2) Outros têm ambientes nos quais eles sempre falham, geralmente em lugares onde nunca os conceberam para funcionar.
3) Selecionar alguns trabalhos maravilhosamente nas situações mais absurdas.

Um competente tipógrafo/desenhista sabe a diferença entre 1) & 2). Honestamente isto não é muito difícil de fazer. Um tipógrafo/desenhista realmente excelente sabe como usar 3). Este é alguém que pode fazer uma tipologia virar uma estrela. É muito mais difícil fazer – mas, Cristo, você sabe quando você a vê!


De qual época do tipo que mais inspirou  você? … parece muito anos 70. De? Se devesse escolher uma época específica, qual? (de Cody Curley)

Os anos 70? Você está brincando? Há muitos séculos do desenho tipográfico; não creio que eu alguma vez tenha sido diretamente influenciado pelos anos 70. Ultimamente fui exposto a alguns livros de espécimes dos séculos 18/19 – os caracteres tipográficos realmente me arrastaram. Adoro olhar trabalho antigo, tentando entender o que veio antes & por que; como o trabalho de uma pessoa influencia outra. Eu acho o tipo histórico/obscuro muito mais interessante, por isso influente, do que a maior parte do trabalho que está acontecendo agora.

De onde você é influência o seu tipo? (de George Coltart [ele diz que foi à escola com você.])

Kia ora George! (Foi há muito tempo, companheiro.) Sendo de NZ realmente influi no meu tipo, mas receio que eu não saiba exatamente como. Talvez eu devesse viajar um pouco mais para ter alguma perspectiva, viver em outro país & trabalhar lá, como você. Realmente não há uma cultura grande de desenho tipográfico na Nova Zelândia, o que pode explicar alguma coisa. Isto significa que sou efetivamente auto-didata, portanto não assino em nenhum determinado estilo ou modo de pensar, a distância permite-me ser muito mais seletivo na minha abordagem. Posso olhar para, digamos, o tipo metálico Espanhol de 1700 e permanecer bastante objetivo sobre ele. Receio que isto não responda à sua pergunta, desculpe.

FF Meta Serif

Feijoa in four weights (illustration: display)

Você tem Feijoa, Nacional e FF Meta Serif sob seu cinto; o que vem agora?

Agora mesmo, tenho vários caracteres tipográficos em andamento. Em nenhuma ordem determinada, FF Unit Slab (uma placa serifa companheira da FF Unit), Newzald (uma econômica serifa texto), a Valência (um Modern quente), Karbon (uma sans serif aparada), National Condensed & Compressed (adições familiais a National) e Aperture (uma sans para tamanhos pequenos). Há também algumas outras coisas excitantes em que espero estar implicado, mas você terá de esperar por isto.

[Kris Sowersby é um desenhista de tipo profissional da Nova Zelândia. Você pode visualisar o seu web site aqui, e compre seus caracteres tipográficos aqui.]

Muito mais entrevistas estão por vir emTipologia. Não perca!

Translated by Vitor Mazzeo.

Archer the Elegant Slab Serif

fly me to the moon

It feels as though Jonathan Hoefler has been designing type for about 100 years–a tall order for a man in his thirties. While still in his teens, he established the Hoefler Type Foundry (now known as Hoefler & Frere-Jones, since teaming up with Tobias Frere-Jones, formerly of the Font Bureau). In 2002 he was honored with type’s top prize, ATypI’s Prix Charles Peignot.

If you own a Mac, then you already have a Hoefler font–Hoefler Text a serif face, commissioned by Apple back in 1991. If you’ve never even noticed it before, then do take a look: the family comprises some 27 fonts; it includes old-style figures, small caps, ligatures and even alternative versions of punctuation for use with caps and and small caps.*

But we’re not here to talk about Hoefler Text or H&FJ Didot or Verlag or Requiem, or even Gotham. If you look up at the night sky toward the center of our own Milky Way galaxy, you’ll spot H&FJ’s new typeface Archer, a rather lovely Slab Serif initially commissioned for Martha Stewart Homes.


I’m particularly taken with the ball terminals on the s (used throughout the lowercase). See the outlines below (hairline and bold). There’s definitely something Swanlike in its form. Interestingly (well, I thought it was interesting), the constellation Sagittarius contains several nebulae, one of which, the Omega Nebula, is commonly know as the Swan or Horseshoe. (one of those interesting facts you can raise when next at the pub).

archer S hairline and bold

H&FJ faces are never short on weights, and Archer is no exception, available in eight weights with accompanying italics, old style figures, small caps, lining figures…you name it, it’s in there. I’ve always found the slab serif to be a little sterile, characterless even. Archer though is a more noble, elegant slab serif. If Courier is Jane Doe, then Archer is Isabella Rossellini or Audrey Hepburn.


Sweet but not saccharine, earnest but not grave, Archer is designed to hit just the right notes of forthrightness, credibility, and charm.

I could happily write several more pages on what I like about Archer, but I suggest you take a look at H&FJ’s Archer page. So what do you think of Archer?

Coming up…

A very exciting exclusive on another new typeface and the interview with Jean François Porchez. But before that, I’ll see you all on Sunday for another edition of Sunday Type.

If you haven’t already subscribed to iLT, then a couple of clicks will ensure you never miss another issue.

*Dot-font: Talking About Fonts–John D. Berry. 2006, page 59.
More about the heroic type duo that is H&FJ can be found here.




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Sunday Type: Mel Gibson Type

The Serifless Roman

Welcome to another edition of Sunday Type. I hope that everyone had a good week. It’s been an especially busy week, with more than the usual number of emails through iLT. Kris Sowersby’s Why Bembo Sucks article was incredibly popular. There are some more great articles to come from Kris.

Let’s get started with a great new type from Carl Crossgrove. It’s a ‘modulated sans serif’ by the name of Beorcana (pronounced: byor-KON-ah):

the lovely Beorcana

For more information and a PDF sample, see Carl’s Beorcana web site. You can find out more about Carl and his typefaces on Terrestrial Design. Here’s one of my personal favourites, Origami:


Difficult to classify in conventional schemes, Beorcana could be described as a serifless roman, as it retains the proportions and contrast of Renaissance Roman typefaces. It could also be described as a modulated or calligraphic sans, as it has no proper serifs, just swellings and taperings. In that sense it is a hybrid…

iPhone wallpapers

Last week I mentioned some of the new Veer iPhone wallpapers. I’ve created some of my own. Ferl free to download them. And of course, you can submit your own.


Where art meets type

Everything You Thought We’d Forgotten is a series of text-based interactive works. Some very novel and interesting ideas:

YouTube Preview Image

Thanks to Robert for the link.


Some time ago I wrote that I’m developing a type-related news web site. It’s nearing completion; mostly just the details of the design to iron out.


There are myriad type-related news items out there, and not space enough to mention them all here, as iLT is geared toward longer articles–so typenuts.com was born. You’ll be able to submit and vote for news items; I’m hoping that it will become a great resource and archive of type-related news. So long as the news is related to type, it will be in there, so new font releases, etc will be there too and you’ll be able to subscribe to all or to specific channels of your choice. I’ll let you all know when I launch.

Free Font

Recently I mentioned Stefan Hattenbach’s beautiful Anziano. I especially like the small caps, and you can now download them for free. But be warned: use them and you’ll fall in love with them.

Anziano SmallCaps

If you decide to buy it, there are numerous wonderfully drawn ornaments included. Here is a small taster:


And on a lighter note…

In the comments to my FontBook review, I paraphrased Mel Gibson’s words in BraveHeart. Hamish, kindly watched the entire movie again and took this screen grab:


In fact, I was so thoroughly impressed by Hamish’s work, that I thought I’d make a competition out of it. Here’s what you have to do:

Preferably choose a movie that most are familiar with (though it’s not obligatory), and find a role for FontBook. I can either choose a winner, or you can vote on them; your decision. I’m trying to work one into Casablanca. The winner will receive a copy of Robert Bringhurst’s The Elements of Typographic Style. Just mail your entries to jboardley{at}gmail{dot}com, mentioning FontBook in the subject line.

Miscellaneous links

1. A PDF article on .net magazine: Better Web Typography.

2. Smashing Magazine’s incredible January Roundup with several type-related entries. I especially like the Better Ordered Lists item.

3. Some time ago, Emigre promised that as their stock of back issues sold out, they’d re-publish some of the content on their web site. I like this one: The Art of Type Founding.

Competition results

During my review of FontBook I asked if you could identify the three types I used in the header. 86 correct entries went into the hat and out came Miha, a design student from Slovenia. Miha wins a copy of Helmut Schmid’s Typography Today.

The winning answers: FF Meta Serif black italic; Officina bold, and Scala Sans regular. Thanks to everyone for their submissions. Interestingly no-one chose the correct weight for FF Meta Serif italic, but it’s difficult to tell when it’s reversed out (light on dark).

Coming up…

A great interview with the man behind the Porchez Typofonderie and designer of Le Monde, Sabon Next and Ambroise, Jean François Porchez; and some more great articles from Kris Sowersby. Alec Julien has also been working hard on a series of video tutorials. They’ll be posted soon; I think you’re going to like them.

And finally

Thanks to everyone for their continued support of iLT. We’ve now passed one million page views. It really is great to receive your emails and to read your comments. That reminds me: February 8th marks iLT’s six-month birthday–how time flies! Have a great Sunday, folks.