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Tag: type design

Death of a Typeface

Robert Granjon (1513–90) was a French type designer who, in 1557, invented a new style of typeface that was modeled on contemporary handwriting. It later came to be know as Civilité, after the civilité of etiquette books that the typeface often appeared in. Although Granjon wished for his Civilité to become the national typeface of France, it never really caught on, and it never seriously competed with Roman and Italic fonts.

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Granjon’s Beautiful Bastard

When books began to be printed in the fifteenth century, scribes were not immediately redundant. The rich still commissioned them to produce deluxe manuscripts, governments and local authorities still required secretaries and copyists for administrative documents, and even printed books left spaces for decorated initials and other elements to be added in by hand. What’s […]

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Designing Wind

Notes on Designing and Producing the Typeface Wind Hansje van Halem is a graphic designer who works with type. She blurs the boundaries between type and image, between foreground and background, often creating seductive patterns that only reveal their texts only when viewed from the distance, making the reader work hard to decode their message. […]

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TypeParis

In my experience, life presents a fascinating series of opportunities, decisions and challenges, each of which impact us in different ways. Pushing and pulling us in various directions, and introducing new opportunities, decisions and challenges along the way. Of these experiences, one of the most special was my time at TypeParis.

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Universal Grotesk

Universal Grotesk I remember looking at this book cover every evening before falling asleep. I was perhaps 13 or 14, and I didn’t really know who Franz Kafka was, but this book with the weird ‘f’ on the spine caught my attention.

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Designing Vinter

The process of drawing Vinter fonts began almost six years ago. The initial spark originated from one of the many magazines I regularly purchase for inspiration in my work as a graphic designer. Its headlines were set in an extremely thin sans serif, employing the thick–thin contrast commonly found in antiqua designs.

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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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