home archive font wall

I Love Typography

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

Tag: make a font

Making waves with Magasin

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.

read this article

Socialist TV Typeface Videtur Finally Freed

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 […]

read this article

Crafting Type

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 […]

read this article

Beauty and Ugliness in Type design

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.

read this article

Krul & the untold history of the ‘Amsterdamse Krulletter’

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’ […]

read this article

The design of a signage typeface

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 […]

read this article

Designing type systems

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 […]

read this article

Garçon Grotesque

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:

read this article

An interview with Kunihiko Okano

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 […]

read this article

The making of FF Tundra

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.

read this article

Engaging contextuality

BY NICK SHINN There are many OpenType features that can be built into a font, but Contextual Alternates is something special. Swash characters, ligatures, small caps and figure variants are all very well, but they merely duplicate cleverness that was available prior to digital type. The Contextual Alternates feature however, in which the choice of […]

read this article

Through Thick and Thin

By David Jonathan Ross Ever since I started to draw type, one of the challenges that has intrigued me the most is figuring out how letters carry their weight. Arranging thicks and thins and determining the contrast between them is crucial in assembling the systems of shapes that form a type design.

read this article

Reviving Caslon

Part 2: Readability, affability, authority [read part one] When their words are put into print, writers want the text to be inviting and welcoming, so that readers will read what they have written. And they also want the text to have an aura of credibility, so it will be taken seriously and maybe even accepted.

read this article

The making of Acorde

After five years of intensive work, my type family Acorde is finally on the market. It is a reliable workhorse for large, demanding design projects. The typeface’s name is derived from a corporate design typeface. However, Acorde is not only suitable for corporate design programmes but for information design and editorial design too.

read this article

Ode, a Fresh Start for a Broken Script

When designing a typeface, I prefer to explore a construction principle rather than revive an existing typeface idea. These principles or writing models are based on the tools and techniques originally used. Understanding these workings are often a great source of inspiration for me.

read this article

Reviving Caslon

Part 1: The snare of authenticity How much should a revival of a typeface look like the original? Well, just as with performing an old song—an analogy Matthew Carter has made—there is something you have to like in the original in order want to revive it. And you can’t depart from the original too much, […]

read this article

Biome — the making of a typeface

A biome in nature is essentially an ecosystem. It’s also the name for my new typeface family. And now that the 14-weight Biome™ Wide family is complete, I’m able to look back on the process.

read this article

Designing Armitage

I had been studying this style of letters on similar buildings in Washington, D.C., and something about them always felt a little dull. But in the Claremount letters I found life in the charming way the awkward proportions and loose spacing came together.

read this article

The Making of Vesper

By Rob Keller Vesper was developed over the course of almost three years. For this article, I’ve divided the process into two stages: #1 during my studies at the University of Reading; and #2 After Reading. Hopefully through this highly-condensed-yet-still-rather-wordy account of this project you will learn some interesting bits regarding my first major type […]

read this article

The first one’s the hardest

by Jeremy Mickel I remember clearly the day I was waiting for the 6 train at 33rd Street and Park Avenue in New York. I had taken pictures of type on the street for some time, but there was something here that caught my eye. There was a plastic sign on a door with letters […]

read this article

Newzald: From Moleskine to Market

By Kris Sowersby In this article I will attempt to illustrate my design process—from typeface concept to a marketable font. Not many folks are willing to write about this. Perhaps they find it boring, irrelevant or just a little bit personal. I suspect it is a mix of all the above.

read this article

Font Creation Case Study: Joules

By Alec Julien Always looking for typographic inspiration, I bought a cheap calligraphic pen set over the summer, convinced that my doodles with it would make some magical letterforms. A week and dozens of pages later, I was left without anything interesting or vaguely artistic. Then, one night, tired and despairing, and having run out […]

read this article

FONT NEWS TYPE HISTORY MAKING FONTS INTERVIEWS BOOK REVIEWS TYPOGRAPHIC FIRSTS FEATURE ARTICLES