November, October and November Stencil Tamil are a family of low-contrast, monolinear Tamil typefaces. Following a rigorous overhaul of the original, they have now been redesigned for better reading and unambiguous communication in text and display sizes. With a range of widths (normal to compressed) and weights (hairline to black) this suite of designs is a comprehensive toolkit for pragmatic Tamil typography.
Essays · 18 November 2021 · English · 2034 words
Um ensaio sobre a história e definição de famílias tipográficas, parâmetros para o design de tipos, e as possibilidades para criação de sistemas tipográficos ainda maiores hoje.
Essays · 15 May 2021 · Portuguese · 2990 words
A distração das mídias sociais pode levar a gritos de “deixe-me continuar com meu trabalho”. Para designers, não há fim na demanda para se estar fisicamente e digitalmente ‘na vitrine’. Porém, e se esse não for o seu modo de ser, ou se não foi esse o motivo que o levou a projetar? Para além de curtidas, seguidores, networking e conexões, para muitos a questão fundamental é: até que ponto o reconhecimento público é uma medida de sucesso?
Essays · 15 May 2021 · Portuguese · 1912 words
A book review of Theory of Type Design by internationally renowned type designer Gerard Unger, where he is delving into cultural, historical and social roots of type design and typography.
Reviews · 1 June 2021 · English · 878 words
The distraction of social media can lead to screams of ‘let me just get on with my work.’ For designers, the demand to be physically and digitally ‘out there’ is endless. But what if that is not how you are, or why you even wanted to design? Beyond the likes, followers, networking and connecting, for many people the fundamental issue is: to what extent is public recognition a measure of success?
Essays · 19 April 2021 · English · 1764 words
Type design must consider not only the shape of the letters, but also the white space around them, which is essential for the ease of reading.
Essays · 25 May 2021 · English · 2010 words
Design is concerned with creations of form, rather than philosophical discussions about holism and acceptance of non-form. However, can the absence of matter teach us more about our true nature?
Essays · 19 February 2004 · English · 2088 words
In the world driven by utility and performance, is there a room for open-ended typographic play system, that allows to discover something that was not entirely planned, something that the system hoped to allow, but could not guarantee?
Typeface stories · 22 June 2020 · English · 1112 words
In less than three decades, web typography has caught up to and even surpassed print typography. A brief look into how we got to where we are today.
Essays · 22 October 2019 · English · 1450 words
The five centuries that followed Gutenberg and his moveable typefaces defined the possibilities of Roman serif type. The current possibilities of sans typefaces were defined over the course of the 20th century. Notes about types that inspired the Ping typeface.
Essays · 11 March 2019 · English · 955 words
It is not very often that I come across type that is so unusual, so strikingly different that I can’t place it. Hansje van Halem’s Wind is one of those rare examples, so I asked her if we could publish it
Typeface stories · 8 December 2017 · English
by Michal Sahar
Traditionally, Hebrew printed typography doesn't have a notion of ‘italic’, a concept linked with the evolution of the Latin alphabet. Hebrew, however, when written by hand used cursive forms taught at schools simultaneously from when children start to read, the informal style hasn’t integrated into printed typography. Michal Sahar proposes a cursive Hebrew for continuous text.
Essays · 11 October 2017 · English · 1075 words
Ellen Lupton Erik Spiekermann 1980s 1990s @font-face Åbäke Abbott Miller academic activism Adobe Adrian Frutiger advertising AGI alternate glyphs alternative culture Americana Amsterdam Andrej Krátky Anthon Beeke Apple April Greiman Arabic architectural architecture Arnhem art Art Chantry Art Nouveau Arts and Crafts authorship awards Bauhaus Beatrice Warde bitmap Bitstream blogs Bob Gill Bodoni book design books British design browser Bruce Mau calligraphic calligraphy Canada capitals catalogue Central European Chris Brand CNC router collection of work comics conferences corporate identity Cranbrook Academy CSS cult of the ugly cultural studies curation custom fonts Czech and Slovak Republics dance Dance Writer David Berlow David Carson David Levine David Quay David Reinfurt decorative design criticism design heroes design history dictionary Didone digital publishing Dimitri Bruni distribution distributors Diwani documentaries Donald E. Knuth Dot Dot Dot magazine Dutch design eBooks Ed Fella editorial design education Edward Johnston Elisa Biľak embedded fonts Emigre Emily King ephemera Eric Gill Erik Nitsche Erik van Blokland exhibitions experimental Experimental Jetset Eye magazine fashion feminine Ferdinand de Saussure film titles film/video Firefox font formats font name font styles France František Štorm Fred Smeijers Freda Sack Fuse magazine geometric Georges Perec Gerard Unger Germany Gerrit Noordzij Gert Dumbar graphic design grotesque hand lettering Hans Eduard Meier Hansje van Halem hardware Harper’s Bazaar magazine headline Hebrew Helvetica Herb Lubalin hinting history humanist humour illustration India industrial interdisciplinary Irma Boom ISO Italy Ivan Chermayeff Jacques Derrida James McMullan Jan Solpera Jan Tschichold Jan van Krimpen Jan van Toorn Jean Baudrillard Jessica Helfand Joep Pohlen Johanna Biľak John Berger John Maeda Jon Wozencroft Jonathan Barnbrook Jonathan Hoefler Jürg Lehni Just van Rossum KABK Kai Bernau Karel Martens Karel Teige Katherine McCoy Kristyan Sarkis Kufic Ladislav Sutnar language László Moholy-Nagy layers lecture legibility Letterror Lewis Blackwell ligatures Lorraine Wild low-contrast magazines Mark Thomson Marshall Arisman Martin Majoor Massimo Vignelli Matthew Carter Max Kisman METAFONT Mevis & Van Deursen Michael Bierut Michael Rock Michal Sahar Michel Foucault microtypography Milton Glaser modernism modular multi-purpose multilingual multimedia multiscript Muriel Cooper music Naomi Klein Naskhi Netherlands neutral Neville Brody new media newspaper non-Latin Oldřich Menhart on-screen reading Ondrej Jób Ootje Oxenaar OpenType Otto Bettmann Otto Treumann Pablo Ferro packaging parametric pattern Paul Rand Paul Renner Paula Scher Persian Peter Biľak Peter Verheul Petr van Blokland philosophy phonetic photography Pierre di Sciullo Pierre Simon Fournier Piet Zwart pixels politics posters PostScript Print magazine programming publishing René Knip research revivals Rian Hughes Richard Hollis Rick Poynor Robert Crumb Robert Estienne Robin Kinross Roger Black Roland Barthes role of designer Ross Milne Roxane Jubert Rudy VanderLans sans-serif serif Seymour Chwast Sheila de Bretteville signage sketchbook slab serif society software standards Stanley Morison Steven Heller Stuart Bailey Sumner Stone Switzerland Tamil technology The Face magazine The Hague theory Thomas Huot-Marchand Tibor Kalman Tobias Frere-Jones TrueType TrueType GX type as object type design type specimens type systems typography USA variable fonts Victor Moscoso vocalisation W3C Walter Benjamin web-safe webfonts websites Willem Sandberg Wim Crouwel Windows WOFF wood type Zuzana Ličko