Xavier Dupré is a world-renowned type designer. After studying calligraphy and typography at the Scriptorium de Toulouse, France, he collaborated with Ladislas Mandel. Since then, he has established himself in Cambodia where he designs typefaces with as much freedom as possible. He appreciates Licko’s creativity, as much as the fluidity and calligraphic tensions in Slimbach’s works, and the simplicity of the design of Carter or Unger. Xavier began type design on screen but then moved back to pencil drawings on tracing paper and even painting with gouache.
Calligraphic flair by DSType, a geometric stencil from Talbot Type, a tempered sans by MVB Fonts, a warm slab courtesy of Dada Studio, a fluid script from Sudtipos, some hand-drawn lettering by Mike Rohde, an art deco inspired face from Tilo Pentzin, a vintage sans by Hold Fast Foundry, geometric forms from HVD Fonts, and a tribute to Ladislav Sutnar by Suitcase Type Foundry.
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!
Neil Summerour’s latest release sat in a ‘drawer’ for two years gathering dust. Fortunately for us, he discovered it, dusted it off, and released it as a scratchy, dynamic, and elegant script font. Shameless is available in two flavors, Standard & Deluxe, with the latter comprising more characters. Shameless is published by the Positype type foundry, and is available through MyFonts.
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.
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 existed. With it went its state broadcasting service – and Videtur, too. Another 20 years in the now reunified Germany would have to pass by before Andreas Frohloff could finally help bring a modernized FF Videtur to market.
In 2013 to mark the bicentenary of Bodoni’s death, designers Riccardo Olocco and Jonathan Pierini will publish the Parmigiano Typographic System which has the ambition of being the most extended family of fonts ever to have been inspired by the great punchcutter and printer who spent most of his life in Parma. Compulsive Bodoni is the name of the project designed to communicate the Parmigiano Typographic System. It introduces the font and follows its development with a series of multidisciplinary events.