In this debut issue of our new monthly column, design legend Steven Heller takes a look at René Bieder’s Magnat font family. Heller is not only an award-winning designer, design educator, and author and editor of hundreds of books, but is also one of the world’s foremost commentators and historians of graphic design.
I Love Typography (ILT) combines the world’s most popular typography blog with a new and innovative place to shop for your favorite fonts.
Among my favorite kinds of typefaces are those that don’t fit neatly into predefined or existing categories; those that dip their toes into more than one genre, or take their cues from disparate historical periods. These twilight zone hybrids aren’t always easy to pull off. Welcome to Magnat…
In episode #2 of Ask ILT, I tackle the question, Why do fashion brands and magazines use so much Bodoni & Didot? Read on to find out why!
For the first in my brand new series of reader questions, I begin with two common type classifications. They sound pretty much the same and they do have a lot in common, but their differences are significant, and that makes them suitable for different applications.
After more than 50 years, the Association Typographique Internationale (ATypI) chose to de-adopt (dump) the Vox-ATypI font classification system. Why the breakup? And does it really matter? Is there anything to be gained by devising replacement systems? Do we need font classification at all? And what’s a typographic dog?
Issue #3 of Fonts in Focus takes a look at Joona Louhi’s weird and wonderful, high contrast display typeface, Louche. Unusual weight distribution and some unorthodox and quirky details make this new release well worth a second look.