Typographica
JULY 5, 2017
This is not a typical typeface review. It’s a review of a whole foundry. I don’t know why I took it upon myself to review fifty-two typefaces instead of just one, but I feel it’s necessary to review them together. These fifty-two typefaces gave me much joy in 2016, and I want to give some of that back to their creator. The Foundry. Stefan Ellmer (also known as Ellmer Stefan, following the Austro-Hungarian name order) is an amazing designer.
Typographica
JULY 5, 2017
Designing something directly on a computer, like many people do these days, risks letting the computer dictate the forms of the thing you design. It’s easier to draw a perfectly straight line in a font editor than it is to draw an organic-looking almost-straight line. Kakadu finds inspiration in the rigid vectors used in early technical computer fonts, and takes them as a challenge.
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Typographica
JULY 5, 2017
There are more exciting tasks than digitizing someone else’s designs. Staying faithful to the original can be limiting; as a result, many typeface revivals are empty vessels, adding little (if anything) to typographic diversity. All the more reason to highlight releases that manage to push the original design to a different level. Prismaset is a great example of such a successful reinterpretation.
Typographica
JULY 5, 2017
We are in a period in which media — both digital and print — is thriving, offering new opportunities for editorial typeface design. Helvetica/Futura and Bodoni/Didot — archetypal magazine faces — are increasingly challenged by numerous contenders, each aiming to redefine the notion of “Now”. So what does “Now” look like in contemporary display fonts for editorial use?
Speaker: Amber Asay, Creative Director and Founder of award-winning design studio Nice People
Understanding what trends are happening and how they’re impacting the competitive landscape is crucial to providing top dollar design strategy to your clients. With so many trends coming and going, it can be overwhelming to determine which ones you should capitalize on and which ones might not be worth the trouble. In this exclusive webinar with Amber Asay, we’ll explore graphic design trends that need to die, trends that are starting to pick up and why, trends that have come and gone, and how t
Typographica
JULY 5, 2017
As a type designer who is currently landlocked in the middle of the United States, I have moments of envy when I scroll through Instagram and come across square after square of oceans. So it doesn’t surprise me that the typeface I decided to write about means “sea” in Italian. Di Mare is a three-font monoline script by Russian type designer and lettering artist Ksenia Belobrova.
Typographica
JULY 5, 2017
You know what really sucks? Coding for hours only to realize you’re using a terrible monospace font that shoots lightning bolts of tension through your forehead. You know why that happens? Because designers and coders don’t understand what they need from each other, same as every other Internet Design Argument since 1996. Ha ha ha… Ugh. I code, nearly every day, and I hate looking at typefaces for code.
Graphic Arts Today brings together the best content for graphic arts professionals from the widest variety of industry thought leaders.
Typographica
JULY 5, 2017
Although a renaissance of geometric sans serifs has been underway for the past several years, two of the original classics experienced rebirth only recently. Kabel and Erbar-Grotesk have always been my favorite geometric faces — with a slight preference for the latter, a design by Jakob Erbar (1878–1935). Fortunately, the idea of an updated Erbar-Grotesk fell into the skilled hands of a type designer who happens to have a strong interest in the latest font technology.
Typographica
JULY 5, 2017
I recently made an amazing discovery: the portfolio of Natalia Vasilyeva , whose latest typeface release, Scientia (PDF) , calls for scientific work in more ways than one.*. She may not be widely known in the West, but Vasilyeva is an accomplished Russian type designer, book designer, and calligrapher hailing from Barnaul, a big city in Western Siberia, near the borders of Kazakhstan, Mongolia, and China.
Typographica
JULY 5, 2017
Paul McNeil and Hamish Muir told an interviewer not long ago that they think of themselves not as type designers, but as designers who make type. I understand wanting to avoid claiming for themselves skills they don’t have, and they probably want to keep their typographic work in its proper context in their larger practice. […].
Typographica
JULY 5, 2017
Kufam Arabic first grabbed my attention through its varied horizontal rhythm. While many contemporary interpretations of so-called Kufic tend to present prevailingly narrow letters, Kufam pleasantly alternates between narrow and wide letterforms. Kaf, Sad, Seen, and the final Beh — along with its siblings of various dot forms — lend the line of text a dynamic variation [a].
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Typographica
JULY 5, 2017
Maximiliano Sproviero is a skilled young type designer specializing in script and display typefaces, some with a distinctly ’70s vibe. He has even done a pitch-perfect ’70s script typeface called Seventies. I started my design career back then. Herb Lubalin and his various collaborators dominated the New York design scene, and ITC dominated the type […].
Typographica
JULY 5, 2017
Tsukushi is a family of Japanese typefaces that began with Mincho (the Japanese equivalent of Roman) in the early 2000s and now contains a variety of subfamilies, some of which you can find as macOS system fonts. In 2016, the designer Shigenobu Fujita added Tsukushi Antique Gothic S and L (small and large bodies, respectively). Both versions occupy the same monospace grid, which makes L appear slightly denser.
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