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.
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.
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.
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.
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.
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.
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.
This Week in Fonts is a new weekly roundup of new font releases, curated by Sean Mitchell.
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.
Despite the frequently ill-defined line between Lettering and Calligraphy, they have always been separate disciplines. Lettering vs Calligraphy, a new project from Berliners Martina Flor and Giuseppe Salerno, seeks to bring together both the craft of drawing letters and the art of writing, but at the same time emphasize and celebrate their differences.
In February of 1989, I had the pleasure of meeting Josef Müller-Brockmann. I was a young, wide-eyed student of 21 years studying at Arizona State University. With great fortune, a professor of mine had heard that Müller-Brockmann was going to be in the country and asked him to add a stop in Tempe, Arizona. The program director for the design department at ASU at the time was the famous Rob Roy Kelly, known for putting together successful design programs, many of which became blueprints for other design schools. Because of Müller-Brockmann’s interest in design education, he accepted the invitation.