Fonts by Hoefler&Co.
OCTOBER 29, 2007
Our erstwhile language researcher and font developer Luke Joyner (not pictured) files this dispatch from the campus of the University of Chicago: A recent late-show at U. Chicago’s Doc Films was Plan 10 from Outer Space, a stinker of a B-movie that’s somehow unrelated to Plan 9 from Outer Space, Ed Wood’s better-known cult classic.
Illustration Art
OCTOBER 19, 2007
There's only one thing that all art has in common: a frame. The frame may be made of metal or wood or it may be purely conceptual, but it is a perimeter that defines where the art ends and the rest of the world begins. No matter how outlandish or varied the art is, no matter whether it is an antique painting or the latest performance art, it is always framed by a boundary that separates the art from the rest of the natural world.
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Fonts by Hoefler&Co.
OCTOBER 18, 2007
Thankfully this was published after my cab ride back from the airport, after AIGA Denver: “Whatever design changes befall the yellow taxi, in my mind they’ll forever have checker striping, double headlights, and a rate card posted on the front doors that’s quirkily lettered and reckoned in fractions of a mile. (But then, I also believe that ‘The Train to the Plane’ is still in operation, because its noisome jingle has never stopped playing in my head.)” “
Fonts by Hoefler&Co.
OCTOBER 10, 2007
A quick invitation for everyone who’s coming to Denver this weekend for Next: the AIGA Design Conference : Jonathan Hoefler will be speaking on Friday at 2:15, discussing how recent changes in the profession have brought about what might be the end of historical typography, and what this means for designers going forward. (He’ll also be offering a rare sneak preview of some projects that will debut in 2008.
Speaker: Amber Asay, Creative Director and Founder of award-winning design studio Nice People
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Fonts by Hoefler&Co.
OCTOBER 1, 2007
John Kwo posted this Flickr set with some beautifully crisp photos from the type tour. Don’t miss some of the great inscriptional lettering to be found on lower Manhattan’s municipal buildings, including these spirited NH and TT ligatures. Over at Villatype , Joe Shouldice has assembled some instructive comments to accompany his photos. Points for relating why signpainters’ dropshadows point left instead of right, and defining the term “gaspipe lettering.” More good
Fonts by Hoefler&Co.
OCTOBER 22, 2007
“Grecians” are slab serif typefaces in which curves are replaced by bevelled corners. The fashion for octagonal letters took off in the 1840s (the style may have begun with an American wood type, produced by Johnson & Smith in 1841), and by the end of the decade there were all manner of Grecians on the market: narrow ones, squat ones, light ones, ones with contrasting thicks and thins, and ones without.
Graphic Arts Today brings together the best content for graphic arts professionals from the widest variety of industry thought leaders.
Fonts by Hoefler&Co.
OCTOBER 30, 2007
You can always tell when a typeface designer is involved. Some unseen force summoned me across the room to this beautiful set of greeting cards, resplendent in rich stochastic color, and bearing a wonderful assortment of letterforms. The choice of typeface for the letter K was enough to identify their designer as a connoisseur: it’s Sapphire, a rare and underestimated typeface by none other than Hermann Zapf (1953), and one of my personal favorites.
Fonts by Hoefler&Co.
OCTOBER 26, 2007
I thought I’d bid farewell to H&Co Greek Week with a glimpse inside some of our library’s more exotic type specimens. After the jump, some stellar Grecian typefaces which have yet to be properly revived, and the type specimen books in which they’re showcased so well. The above is unusual: it’s the 10-Line Grecian Double Extra Condensed of William Page (1872), and eagle-eyed readers may have noticed that it’s printed not in black and white, but in retina-searing
Fonts by Hoefler&Co.
OCTOBER 25, 2007
Greek Week Continues! Like all good New Yorkers, we know how to respond to unattended packages: with deep dread and unbridled panic. Yet despite our daily diet of Orwellian public service announcements , a devil-may-care attitude moved someone at our office to immediately open the unmarked brown paper parcel that was left outside our door (candy!), inside which were these: a pair of fired clay sculptures in the shape of — what else?
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Fonts by Hoefler&Co.
OCTOBER 23, 2007
Right on the heels of yesterday’s post about Grecian italics comes this, a reminder that Swing University is back in session. Swing U , a production of Jazz at Lincoln Center, is a terrific series of courses directed by jazz authority Phil Schaap. Design Director Bobby Martin Jr. developed this identity for Swing U using none other than Acropolis Black Italic , what was heretofore the world’s only Grecian italic typeface, and certainly one of the most exotic faces in the H&Co col
Fonts by Hoefler&Co.
OCTOBER 23, 2007
Greek Week Continues! Making good on his standing promise to rid the world of enamel signs, and warehouse them in the office for our personal amusement, Tobias came across this little bit of heaven in a local antique shop. The full image features a stalwart gent in lederhosen hoisting a beer stein, but for typophiles, this is where all the action is: cousin to the Grecian italic, it’s a (1) faceted (2) chromatic (3) blackletter that would have made a nice auxiliary to our Knox typeface.
Fonts by Hoefler&Co.
OCTOBER 8, 2007
One of Andy’s photographs features his friend Albert walking before a giant FU on a Williamsburg sidewalk. “The letters used to spell out You Are Beautiful ,” Andy explained, “before someone started moving them around the neighborhood…” It reminded me of a similar bit of guerilla anagramming in my neighborhood: a few years ago, our local movie theater finally gave up the ghost after 93 years.
Fonts by Hoefler&Co.
OCTOBER 6, 2007
Years ago, I walked into a used book store in Chicago, and beheld an astronomically unlikely thing: a run of pristine leather books, each stamped “caslon” in gold letters, each in a typeface of a different vintage. These were type specimen books from the Caslon foundry, and to see them in such quantity was a singular experience. Type specimens are usually accumulated individually, painstakingly, and expensively, from antiquarian specialists or the occasional flea market.
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Fonts by Hoefler&Co.
OCTOBER 3, 2007
Only if Umberto Eco, Jorge Luis Borges, J. R. R. Tolkien and Will Shortz clubbed together in a moment of wickedness could humanity produce a more vexing object: behold the Voynich Manuscript , a puzzling artifact from the late fifteenth century written by an unknown author, in an unidentified script, in an unknown language. Since 1912, cryptographers, palaeographers, and others with time on their hands have failed to decipher this mysterious document; naturally one theory is that it’s a mo
Illustration Art
OCTOBER 6, 2007
Pierre Bonnard was a part time law student and a part time painter. A man of diverse interests and little focus, he also considered a career as an interior decorator, or possibly a set designer. But mostly he enjoyed an active social life, spending much of his time at the theatre or chatting at the cafés with friends. Then one day Pierre saw a striking young woman getting off a trolley.
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