A brush script from Sudtipos, a unicase face by Latinotype, a graceful script via Fairgoods, an optimized serif from Nootype, a plump display by Fontyou, a functional sans from The Northern Block, a strong family by Colophon, a modern rounded sans from Typedepot, another exotic face by Fontyou, and a delicate sans from Tipo Pèpel.
A sultry script from Positype, a new level of trimming by Letters from Sweden, a confident sans from Rene Bieder, compact headlines by Typodermic, a layered family from S-Core, a new sans by Wiescher Design, a handwritten serif from La Goupil, and a classic didone by dooType.
Calligraphic flair by DSType, a geometric stencil from Talbot Type, a tempered sans by MVB Fonts, a warm slab courtesy of Dada Studio, a fluid script from Sudtipos, some hand-drawn lettering by Mike Rohde, an art deco inspired face from Tilo Pentzin, a vintage sans by Hold Fast Foundry, geometric forms from HVD Fonts, and a tribute to Ladislav Sutnar by Suitcase Type Foundry.
An energetic upright from Type Together, a geometric sans by Lucas Sharp, a neutral sans from Wordshape, a graceful script by Giuseppe Salerno, a family full of character from Exljbris, a good humoured face by OurType, a Japanese inspired family from Thinkdust, a soft script by Maximiliano Sproviero, a Eurostile inspired sans from TypeManufactur, and a friendly family by Nootype.
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.
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.
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.