Posted By: Audrey Bennett and Bridget Rice
Type of Post: Article
Date of Post: Tuesday, December 20, 2005
Can altering the alphabet design improve literacy among children? Bennett and Rice revisited Bradbury Thompson revolutionary Alphabet 26 and were surprised by what they found.
Posted By: Anthony Inciong
Type of Post: Article
Date of Post: Friday, July 15, 2005
A re-assertion of the personal as essential to design innovation and the development of a strong character among students.
Posted By: Sumner Stone
Type of Post: Article
Date of Post: Wednesday, November 10, 2004
When I finally took Reynolds’ calligraphy class at Reed College, the picture in the back of the Graphic Arts Studio was, interestingly enough, a portrait of Rudolf Koch, not Edward Johnston, William Morris, or John Ruskin.
Posted By: Steven Heller
Type of Post: Article
Date of Post: Wednesday, August 04, 2004
What made Lubalin’s Avant Garde such a troubled face? Heller reports on its use and abuse.
Posted By: Cyrus Highsmith
Type of Post: Article
Date of Post: Wednesday, July 28, 2004
Cyrus Highsmith is now senior at the Font Bureau, he discusses lessons learned from David Berlow's 1997 sheep allegory.
Posted By: Adam M Rotmil
Type of Post: Article
Date of Post: Wednesday, July 21, 2004
Experience with Wolfgang Weingart during his last year before retiring from the HGK Basel, Switzerland.
Posted By: Paul T. Werner
Type of Post: Article
Date of Post: Friday, July 16, 2004
Is Gotham the right type choice for the cornerstone of the Freedom Tower. Wermer argues that its application may not send the right signal.
Posted By: Ilene Strizver
Type of Post: Article
Date of Post: Friday, July 02, 2004
What makes a typeface look the way it does? The design of the letter shapes is a primary factor, but it’s by no means the only one. The spacing of a font has a large impact on how it looks when typeset, and should be taken into consideration when choosing and using a typeface.
Posted By: Ralph Caplan
Type of Post: Article
Date of Post: Tuesday, June 29, 2004
Caplan gets lyrical about his favorite beauty marks as he explores the visual poetry of the ?!; and .
Posted By: James Grieshaber
Type of Post: Article
Date of Post: Tuesday, April 13, 2004
Gothic Gothic is a fusion of old and new that is both Gothic and Gothic available from typeco.com
Posted By: Paul Shaw
Type of Post: Article
Date of Post: Wednesday, March 10, 2004
Just when it seemed typography had no discernable impact on government policy the US State Department outlawed its standard typeface for all official correspondence, except treaties.
Posted By: James Grieshaber
Type of Post: Article
Date of Post: Thursday, March 04, 2004
Super Duty is a ready-for-action stencil font that is somewhere between serious and fun available from typeco.com
Posted By: Ilene Strizver
Type of Post: Article
Date of Post: Wednesday, March 03, 2004
The first in a series on typographic know-how by Ilene Strivener. Want to get your text off to a great start? Try initial letters.
Posted By: Allan Haley
Type of Post: Article
Date of Post: Monday, October 21, 2002
It seems that just about everyone is using the word ?font? when they are referring to a typeface. ?Fonts? and ?typefaces? are different things. Graphic designers choose typefaces for their projects but use fonts to create the finished art.
Posted By: Chank Diesel
Type of Post: Article
Date of Post: Monday, October 21, 2002
Although it is not the most academically correct font, the Venis family by Chank Diesel is clean, simple and elegant with nice contrast. Chank's creative liberties give Venis some unique qualities in its characters, which you'll especially notice in the signature lowercase y.
Posted By: Nick Shinn
Type of Post: Article
Date of Post: Monday, October 21, 2002
Nicholas Jenson's seminal type of the 1470s was a book face, around 16pt in size, and this has been reflected in the majority of Jenson revivals, which tend to have a bookish elegance with plenty of stress contrast.
Posted By: Nick Shinn
Type of Post: Article
Date of Post: Monday, October 21, 2002
There is much in digital culture that is Post-modern. But it is more obviously Synthetic, in both the sense of being artificial, and of being complex, built up from combinations of simpler elements.
Posted By: Sebastian Lester
Type of Post: Article
Date of Post: Monday, October 21, 2002
Calm, clean, and legible, on-screen or in print. That?s Scene, a six-weight family of typefaces by Sebastian Lester that was designed with corporate identity projects in mind.
Posted By: Bob Gordon
Type of Post: Article
Date of Post: Monday, October 21, 2002
"Typography is entirely about the business of detailing," writes Bob Gordon, and he practices what he preaches in this attractive and well-designed book. Its focus on "font fine-tuning" shows the reader how to take control of the hyphenation and justification
Posted By: Adobe
Type of Post: Article
Date of Post: Monday, October 21, 2002
Arcana Manuscript is a calligraphic exploration of the Victorian gothic aesthetic that created literary classics such as Frankenstein and Dracula. Mexican designer Gabriel Martinez Meave first wrote with a fountain pen, then digitized the results to create this unique typeface. "Arcana" takes its name from the ultimate secrets that lie behind astrology, alchemy, and magic. In gothic novels, such secrets were written in forbidden books, hidden in the dark and grotesque sanctums of magicians or mad scientists (possibly the ancestors of today's computer scientists and type designers).
Posted By: FontFont
Type of Post: Article
Date of Post: Monday, October 21, 2002
Originally developed for a thesis project, FF Strada evolved through continued use over five years to become a stable, versatile family of types. Its simple forms are a natural choice for the most basic uses, while the wide range of figures lend themselves to more complex, demanding applications.
Posted By: MVB fonts
Type of Post: Article
Date of Post: Monday, October 21, 2002
Akemi Aoki, designer of the ubiquitous MVB Hotsy Totsy™, has created a monospaced, typewriter face with attitude. MVB Fantabular has serifs. MVB Fantabular Sans doesn't. Both come in Regular, Medium, and Bold weights with corresponding italics.
Posted By: Zuzana Licko
Type of Post: Article
Date of Post: Monday, October 21, 2002
Fairplex was inspired by features found in models ranging from the San Francisco Giants logo to Garamond. With tapered serifs that become more distinct and decorative as size and weight increases, and an overall low contrast, Fairplex is designed to function as both an animated headline font and highly practical text face.
Posted By: Mark Van Bronkhorst
Type of Post: Article
Date of Post: Monday, October 21, 2002
Mark Van Bronkhorst says he had parking lot signs in mind when he designed ITC Conduit. "It's the kind of lettering you might find on boilers, assembly diagrams, and desiccant packets," he explains. "It's plain, grid-based, visually incompetent, yet legible and direct."
Last Updated: March 01, 2007
