An Erik Spiekermann exclusive from Hamilton Wood Type, a sturdy slab by Rene Bieder, a high-class display from Avondale Type Co, a brush script by Mika Melvas, a modest slab serif from Type Me Fonts, a monospaced family by Matthew Butterick, a contemporary script from Petra Dočekalová, and a super family by Playtype.
A graceful sans from Typotheque, a modern grotesk by Suitcase Type, a contemporary serif from Bold Monday, a letterpress family by Yellow Design, a versatile sans from Milieu Grotesque, a brush script by Doubletwo, a bold display face from Monokrom, and a modern sign painter family by Kyle Wayne Benson.
An “old Hollywood” inspired sans from Jessica Hische, a harmonious family by Laura Worthington, a contemporary serif from Grilli Type, a stylish slab by FaceType, a gentle sans from Production Type, a versatile sans by Tour De Force, a brush inspired face from Commercial Type, and a calligraphic script by Aerotype.
Cloths of Heaven is Seb Lester’s interpretation of ‘Aedh Wishes for the Cloths of Heaven’, a poem by the renowned Irish poet W. B. Yeats. It is a continuation of his exploration of the theme of beauty in the context of letterform design. He has produced a limited edition screen print and also collaborated with The London Embroidery Studio to produce an embroidered piece, available as a small-run limited edition.
Aware that there is no such thing as total neutrality, Neutral typeface explores how the absence of stylistic associations can help the reader to engage with the content of a text.
A monumental family from Hoefler & Co, a casual sans by Type Supply, a seaworthy display from Kyle Wayne Benson, a ferry inspired face by Letters from Sweden, an extensive script family from Martina Flor, a strong grotesk by The Northern Block, a functional slab from ReType, and a bright iconset by Symbolset.
An elegant script from Sudtipos, an aggressive face by Blackletra, a hand made family from Latinotype, a dynamic sans by Rui Abreu, a geometric sans from Rene Bieder, a cursive fat face by Dzianis Serabrakou, a lively script from Lián Types, a well-balanced slab by Parachute, a lovely sign painting font from Liebe Fonts, and a contemporary serif by Schwartzco.
The image below is a scan of a recto leaf printed by Arnold Ther Hoernen, Cologne, 1470 (Cologne’s second printer after Ulrich Zel). The book, Sermo in festo praesentationis beatissimae Mariae virginis (ISTC: ir00303000) is special in that it is the first (extant) book to include printed foliation (‘page numbers’*), here printed in the recto margins, half way down the page.
Every typeface taken seriously enough by its designer will teach valuable lessons. From Signo I learned that in designing a reverse contrast typeface, the challenge isn’t so much in the contrast, or in the black part of the letter for that matter. The conventions for that part are being disregarded, played with, reversed, so the white part of the letter has to assume greater control. And it leads one to rethink what ‘reversed’ really means.