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I Love Typography

I Love Typography

Tag: type design

The Pattern Project


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


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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Type Design Week


ISIA Type Design Week is a one week intensive summer course in type design and lettering held at the ISIA – the High Institute for Applied Arts of Urbino. Since 2009 ISIA has been running a graphic summer school organised by Leonardo Sonnoli in collaboration with the Dutch Werkplaats Typografie, and in 2011 Type Design Week was introduced to expand the school’s summer programme.

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Learning to Love letters!


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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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!

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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 […]

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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 […]

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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.

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Condensed Typeface Design Program


The Condensed Typeface Design Program at the Cooper Union is a five-week-long studio course that at first glance, simply teaches the basics and traditions of typeface design. In reality, it was an amazing and intense summer spent with passionate people immersed in the world of type. During the 12-hour days (with breaks!) we studied type […]

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The Week in Type


Closing your eyes to see, covering your ears to hear It has been a while since my last roundup, so buckle up. For those interested, I recently moved 4322.8 km (2686.06 miles) from my home in Japan to my new home in Vietnam. After nine wonderful years in Japan, it was time to move on. […]

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An Interview with Stéphane Elbaz


Stéphane Elbaz is graphic and type designer working in New York and Paris. In 2009 he was awarded the Certificate of Excellence in Type Design from the Type Directors Club of New York for his type family Geneo, recently published by Typofonderie. He is the first typeface designer from outside the foundry to be published […]

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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’ […]

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Novel Constructions


A sudden bolt of inspiration would makes for an enticing story of a typeface’s beginnings, one that would perhaps be helpful when marketing it. However, in reality, not all typefaces come into the world that way. Sometimes, as was the case for Novel, the idea slowly percolates. Even the somewhat unspectacular name I chose for this family […]

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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 […]

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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 […]

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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:

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タイプデザイナー 岡野邦彦 Quintet書体インタビュー

by Taro Yumiba 2010年の九月から約一年間、オランダ、ハーグにある王立芸術アカデミー、通称KABKのTypemediaコースに留学されたタイプデザイナーの岡野邦彦さんに卒業制作で取り組まれた書体Quintetを中心にインタビューさせて頂いた。

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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 […]

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An Interview with Verena Gerlach


By Ivo Gabrowitsch & Christoph Koeberlin After more than 10 years, Verena Gerlach has revised and extended her FF Karbid super family, an interpretation of German storefront lettering from the early 1900s. The new FF Karbid is a harmonized redesign of the original typeface. Rounder and less narrow letters lend the shapes more space and […]

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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.

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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 […]

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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.

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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.

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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.

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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.

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