I Love Typography

A Typographic Carousel

Typographic carousel

Ahhhhhh…! That wonderful aha moment when we see the spark in our students’ eyes—when they realize that typography reaches far beyond the font list under the type menu on the computer. The tricky part is getting to that aha moment! When students are learning about typography, is it far too easy for them to simply type out words, choose a typeface and go. The problem is, some novices stretch the type until it becomes so oddly distorted that it looks like a reflection from the “fun house” mirror; some may increase the size larger than the design was ever intended to be; some load free fonts that are so poorly designed with awkward shapes and spacing that one who knows and appreciates typography can actually feel the acid in his or her stomach turning; some simply use Myriad on their designs because it is the default typeface (a good reason to suggest never to use that typeface unless it is backed up with a very good reason). The ultimate goal is for our students to love, honor and respect typography, but getting to that point can be an arduous task and sometimes a painful experience.

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This Week in Fonts

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Delicate yet solid curves courtesy of Sudtipos, a sturdy serif from FontFont, a cosy type family by FDI, a whiskey & gin inspired face from Hold Fast Foundry, tetragonal splinters from Benoît Bodhuin, a Dieter Rams inspired face by The Northern Block, a minimalist sans from Mostardesign, a dotted typeface by Nina Stössinger, a versatile sans from Hoftype, and a new softened slab by Insigne.

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This Week in Fonts

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A deco style numbers font from Joshua Mayfield, a calligraphic text family by District, a ligature packed display face from Nootype, a contemporary stencil by Atlas Font Foundry, a family of contradictions from Typotheque, a flexible gothic digitized for the first time by Hamilton Wood Type, and a single face with 9 fonts within from DSType.

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This Week in Fonts

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A no-nonsense sans from Lineto, a layered type system by Latinotype, a charming hand made face from Voltage LTD, delicate and flowing curves courtesy of Typesenses, a contemporary sans by VirusFonts, a classic titling serif from Domahoka, a Swiss inspired sans by Wordshape, and a modern sans from Nootype.

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Making waves with Magasin

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I’ve always been fascinated by typefaces based on fluid handwriting, and as an amateur calligrapher of copperplate, I decided to design a display font based on this experience.

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This Week in Fonts

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A bright slab serif by Typofonderie, a massive system from Typonine, a text face with flavour and a hardworking family from Rosseta Type, a casual face by HVD Fonts, an expansive family from Lost Type Co-op, a type designer’s typeface by Emigre, a warm and rugged face from Fountain, a geometric slab serif by The Northern Block, and a humanist grotesque from Atlas.

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Socialist TV Typeface Videtur Finally Freed

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In the 1980s, the German Democratic Republic’s state television broadcasting service commissioned Axel Bertram to develop a custom typeface. The result was “Videtur,” a remarkably independent serif design that was intended to define the on-screen graphics of East German television for years to come. But by the beginning of the 1990s, the GDR no longer existed. With it went its state broadcasting service – and Videtur, too. Another 20 years in the now reunified Germany would have to pass by before Andreas Frohloff could finally help bring a modernized FF Videtur to market.

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This Week in Fonts

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A new book typeface by DSType, a deluxe script from Sudtipos, compact forms from Optimo, a modern slab by Rene Bieder, a vintage inspired face by Hold Fast Foundry, a classic sans from Plau, some fine curves from Gestalten, and a friendly serif by Borutta.

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This Week in Fonts

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An industrial sans by Scribble Tone, a homage to Spanish calligraphy by ReType, an art deco inspired sans by Typetantic, a crisp icon font from Symbolset, a space saving serif by Outras Fontes, a sans inspired by the golden era of surf by Kyle Wayne Benson, a retro-chic display face by Type-Ø-Tones, and a Bauhaus influenced sans by The Northern Block.

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A compulsive tribute to Giambattista Bodoni

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In 2013 to mark the bicentenary of Bodoni’s death, designers Riccardo Olocco and Jonathan Pierini will publish the Parmigiano Typographic System which has the ambition of being the most extended family of fonts ever to have been inspired by the great punchcutter and printer who spent most of his life in Parma. Compulsive Bodoni is the name of the project designed to communicate the Parmigiano Typographic System. It introduces the font and follows its development with a series of multidisciplinary events.

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This Week in Fonts

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This Week in Fonts is a new weekly roundup of new font releases, curated by Sean Mitchell.

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Crafting Type

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I don’t know what it is about type design recently. I could swear that five years ago there wasn’t even half as much interest as there is today! But somehow, it has become hip and interesting to a lot more people than before. Perhaps this reflects the growing democratization of type design, as newer practitioners are increasingly diverse by almost any measure of that term. When I started in the field, it seemed that it was 95%+ white males from North America and Western Europe. That is so totally not true any more! I think what is happening is that young designers can see diversity in their type design role models, and are appropriately encouraged by the existence and amazing type design skills of people from all over the world, including women and people of color.

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