By James Puckett

This is the doorway to The Claremount, an apartment building in Manhattan. I think that it was built in the 1890s. Those letters over the door just reached out and grabbed me from across the street and I had a typeface coming on.

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 family, […]

By Nadine Chahine
Nadine Chahine is a type designer for Linotype GmbH, where she is also Branding & CI Manager, and Arabic Specialist. She designed Frutiger Arabic with Adrian Frutiger and Palatino Arabic with Hermann Zapf, for which she won the Certificate of Excellence in Type Design from the TDC. Today I’m excited to announce that […]

By Abi Huynh
Last year Mathieu Christe and Berton Hasebe wrote a very thorough article detailing the general day to day of the Type and Media masters program. With this article we hope to outline an historical overview of the course and provide a brief look at the final project typefaces from the 08/09 class.
Type Design […]

By Jessica R. Yurasek
Let’s face it, most of the general public does not really understand typography. So when I first tell people that I attended something called ‘Type Camp’ this summer, I tend to garner a lot of puzzled looks. But, smiling bemusedly, the typographic outsider with whom I am conversing, is likely to then ask […]

Reviewed by James Puckett
“The truth of the terse but expressive ‘dead and forgotten’, comes home with peculiar force to the searcher after information about the individuals who have developed the art and craft of typefounding.”
– William E. Loy
The Industrial Revolution is often seen as a black hole in the history of typography. In that era […]

By Ivo Gabrowitsch
Berlin-based Martin Wenzel might be best-known for his TDC-awarded sans serif family FF Profile. He runs his own studio, focusing on type and communication design and teaches type design at the Design Academy Berlin. Martin also runs his own shirt store WordsOnShirts that features some nice hand lettering designs.

by Jos Buivenga
Calluna started out as a little test I did to see if I could add serifs to Museo, to make a slab serif. Because of its pipe bend serifs I suddenly saw the connection between serif and stem, and some sort of direction.

Driven by design
The week in type is coming very soon. In the meantime, I thought you might enjoy this video from Pierre Smeets and Damien Aresta.
More information about the project on Pierre and Damien’s web site, pleaseletmedesign.com. More images on Flickr. You can download the free iQ font from Toyota.

Great, fun project. If you decide […]

Le Typographe
Alice Savoie started out with a foundation course in Applied Arts and then studied graphic design and typography for four years in Paris. She then set sail for the UK to follow the MA in Typeface Design at Reading University. Upon graduating in 2007 she relocated to London to work as a graphic designer. […]

by Aegir Hallmundur
Every year The St Bride Foundation holds a lecture in memory of Justin Howes, a great typographer and historian who was instrumental in supporting the St Bride Printing Library. He re-established the firm of HW Caslon, published books, organised exhibitions, delivered lectures and worked with the Type Museum in Stockwell, finally moving to […]

By Dan Rhatigan
This July, the Department of Typography & Graphic Communication at the University of Reading is offering a week-long, condensed version of the MA Typeface Design course it has been offering for the last ten years. It may only last 5 days, but it promises to give a small group of participants a chance […]

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 and […]

by Dan Reynolds
Last week, Linotype released my newest typeface family, Malabar. With six fonts for the Latin script, Malabar is a sturdy oldstyle serif. Designed for extensive reading, Malabar was originally part of a larger design project conceived for Indian newspapers, and a Devanagari addition will be released at a later date. After that, who […]

Call for Submissions
For over 60 years the Type Directors Club has been the leading international organisation whose sole purpose is to support and promote excellence in typography wherever it’s found. The club was founded in 1946 by some of graphic design’s legendary pioneers, the TDC’s earliest membership included Aaron Burns, Freeman Craw, Louis Dorfsman, Gene […]

by Mathieu Christe & Berton Hasebe
A year ago, after the ten of us settled in The Hague, we started the Type and Media masters course—excited to begin our education in type design. Expecting to immediately start drawing letters, we were surprised to find that our first course was in Python programming. Though unexpected, it was […]

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.
I’ll try to remain as concise […]

Por Alec Julien
Siempre en la búsqueda de la inspiración tipográfica, compré una pluma caligráfica durante el verano, convencido de que mis garabatos con ella terminarían convirtiéndose en unas mágicas letras. Una semana y una docena de páginas después, estaba sin nada interesante o incluso lejanamente artístico. Luego, una noche, cansado y desesperado, cuando se me […]

By Alec Julien
Andas sempre à procura por inspiração tipográfica, trago uma caligrafia barata orientada no Verão, convencido que os meus gatafunhos fariam letras mágicas.
Uma semana e dezenas de páginas depois, não tinham nada interessante ou vagamente artístico. Depois, uma noite, cansado e desesperado, e não tendo tinta preta, tapei com cartucho vermelho, e esbocei o […]

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 of […]