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I Love Typography

MADE POSSIBLE WITH THE SUPPORT OF
I Love Typography
MADE POSSIBLE WITH THE SUPPORT OF

Tag: make a font

The Pattern Project

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Basically, two things came together. First: I am fascinated by the mesmerizing richness of detail in medieval initials. And I admire the patience and drawing skills those medieval monks possessed – perhaps because I actually lack both. In the Middle Ages the more detailed and elaborate the decoration was, the higher the value and appreciation […]

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Making Fonts: Essonnes

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Like a tiny seed growing into a giant tree or a butterfly emerging from a chrysalis — type design isn’t! Forward steps, missteps, steps retraced — that is type design. Sometimes the development is natural and organic; at others it is perhaps more akin to working for a typographic Dr. Moreau. During the long process, […]

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Making Fonts: SINDELAR

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“Finally I found what I have been looking for – this typeface suits the specific requirements of my project: balanced proportions, space saving and very legible in small sizes. Just the color is a bit too light – if I could only switch to a slightly darker grade …”

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Climbing Everest

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“Designing Zapfino Arabic takes everything I ever learned about type design and then some… Have never, ever, worked on anything this challenging.” — Facebook status: Oct. 24, 2013

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Making Fonts: GT Sectra

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GT Sectra is a serif typeface combining the calligraphic influence of the broad nib pen with the sharpness of the scalpel. This sharpness defines its contemporary look.

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Letters in Wonderhand

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Although I’m always dealing with letters in my work, embarking on a type design project is rather the exception. My main occupation, ‘Lettering’, varies from commission to commission and projects tend to last for short periods of time with widely different outcomes. Type projects normally extend for a longer period of time and, from my […]

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The Questa Project

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The three members of the Questa family The Questa Project is a type design adventure by Dutch type designers Jos Buivenga and Martin Majoor. Their collaboration began in 2010 using Buivenga’s initial sketches for a squarish Didot-like display typeface as a starting point. It was a perfect base on which to apply Majoor’s type design […]

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Learning to Love letters!

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I love letters. All kinds and types of letters: small, large, drawn, sketched, painted, rough, smooth, serif, sans serif, script, roman, italic, oblique, digitized, old and new, uppercase, lowercase, all materials and media, three dimensional… Yes, I love letters, except for those that are poorly or incorrectly proportioned. For those poor ugly letters, I feel […]

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BundesSans and BundesSerif — truly democratic typefaces

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Three years ago MetaDesign Berlin asked us to design a custom Serif and Sans typeface for the German federal government. They had been assigned to redevelop the government’s corporate design with the typefaces as part of the update. The project was to cover all communication issued by the government and their ministries, online or offline, […]

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An idea of a typeface

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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.

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Making Signo

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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 […]

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Drawing Line

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In the spring of 2012, Stefania Malmsten became the new Creative Director of Swedish fashion & culture magazine Rodeo. Stefania was living in New York at the time, working with Swedish and American clients from the collaborative workspace Studiomates in Dumbo, Brooklyn. She had decided to move back to Sweden where she had started her […]

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Harir – Reducing Noise in Arabic Script

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Our daily lives are full of noise, but when we immerse ourselves in reading, it seems to disappear. But what if the shapes of the words we read also contain perceptible noise? Does it disrupt the reading process, or do we learn to filter it out?

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Lava — Voice of a Magazine

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In Spring 2012 I started working on Works That Work, a new magazine which launched in February 2013, and as strange as it may seem, one of the first things that I started working on was its typeface.

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A Typographic Carousel

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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!

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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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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 […]

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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 […]

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Beauty and Ugliness in Type design

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Peter Biľak on the process of designing his newly released Karloff typeface, demonstrating just how closely related beauty and ugliness are. Karloff explores the idea of irreconcilable differences — how two extremes could be combined into a coherent whole.

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Krul & the untold history of the ‘Amsterdamse Krulletter’

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In a way, my research into the ‘Amsterdamse Krulletter’ (Amsterdam’s Curly Letter) began eight years ago as I was walking down the streets of what is possibly the city’s most beautiful district, the Jordaan. As every local knows, this area hosts quite a few of the old, traditional pubs that the locals call ‘bruin cafés’ […]

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The design of a signage typeface

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The story begins in 2006 with a trip down Route 66. Day in, day out, I looked at U.S. traffic signs that were either set in the old, somewhat clumsy “FHWA font series” or the new Clearview HWY typeface. Approaching the signs, I would often test myself: which typeface works best from a distance, and […]

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Designing type systems

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Peter Biľak I remember a conversation from back in my student days where my typophile friends and I debated what the ultimate typeface of the twentieth century was, a typeface that summed up all of the era’s advancements and knowledge into a coherent whole, one that would be a reference for years to come. Helvetica […]

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Garçon Grotesque

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Honesty in form is one of the major tenets of modernism. In other words, a design should accomplish a narrowly defined function in the simplest manner possible. This belief is extolled in many design disciplines, including typography. In 1931, Eric Gill wrote:

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An interview with Kunihiko Okano

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By Taro Yumiba How and when did you become interested in typography & type design? At university I majored in graphic design. I used to leaf through typeface catalogs in search of letters to use in my poster design assignments. However, I could never find any typefaces that matched perfectly what I had in mind, so […]

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The making of FF Tundra

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by Ludwig Übele A line of text is like a silhouette on the horizon. Closer inspection reveals the detail, the trees, bushes, rocks; details that, though only vaguely perceivable from afar, create both rhythm and variation. The beauty of this landscape is born of both regularity and variety.

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