Irma Text Slab

Thin
Thin Italic
ExtraLight
ExtraLight Italic
Light
Light Italic
Regular
Regular Italic
Medium
Medium Italic
SemiBold
SemiBold Italic
Bold
Bold Italic
Heavy
Heavy Italic
Black
Black Italic
ÚjságcímClick to Edit
Thin 100px
TitulekClick to Edit
Thin Italic 100px
TitreClick to Edit
ExtraLight 100px
StichwortClick to Edit
ExtraLight Italic 100px
EncabezamientoClick to Edit
Light 100px
VeerutiitelClick to Edit
Light Italic 100px
NagłówekClick to Edit
Regular 100px
PrüfungsanweisungenClick to Edit
Regular Italic 100px
OverskriftClick to Edit
Medium 100px
HeadlineClick to Edit
Medium Italic 100px
OtsikkoClick to Edit
SemiBold 100px
UntertitelClick to Edit
SemiBold Italic 100px
ChodnikowiecClick to Edit
Bold 100px
NadpisClick to Edit
Bold Italic 100px
FyrirsögnClick to Edit
Heavy 100px
HírösszefoglalásClick to Edit
Heavy Italic 100px
RubrikClick to Edit
Black 100px
BezeichnungClick to Edit
Black Italic 100px
In my decade of experience teaching at Type & Media I have seen many students enter the course with no previous experience in type design. Over the eight months of the course they learn the structure of letterforms and the principles of construction that allow them to create well-designed typefaces, (not always terribly original, but convincing executions without obvious mistakes). Having mastered the formal execution of type, they can then move on to think about how to apply their skills. Obviously, creating type that is too closely related to existing models doesn’t justify the effort involved. Or as my Type & Media colleague Erik van Blokland says: “If an existing typeface does the job, there is no reason to make a new one.”Click to Edit
Regular 16px
In my decade of experience teaching at Type & Media I have seen many students enter the course with no previous experience in type design. Over the eight months of the course they learn the structure of letterforms and the principles of construction that allow them to create well-designed typefaces, (not always terribly original, but convincing executions without obvious mistakes). Having mastered the formal execution of type, they can then move on to think about how to apply their skills. Obviously, creating type that is too closely related to existing models doesn’t justify the effort involved. Or as my Type & Media colleague Erik van Blokland says: “If an existing typeface does the job, there is no reason to make a new one.”Click to Edit
Regular Italic 16px
PrüfungsanweisungenClick to Edit
Regular 140px
It seems to be a golden age of type design—not only are there more type foundries now than ever before, not only is distribution easier and more direct, not only is type a hot topic for numerous specialised blogs and magazines, but even the general interest media are in on the conversation, (if only occasionally). New type design courses are opening regularly, churning out legions of type designers. And there are now over 150,000 fonts available for direct download.Click to Edit
Regular 0px
In my decade of experience teaching at Type & Media I have seen many students enter the course with no previous experience in type design. Over the eight months of the course they learn the structure of letterforms and the principles of construction that allow them to create well-designed typefaces, (not always terribly original, but convincing executions without obviousClick to Edit
mistakes). Having mastered the formal execution of type, they can then move on to think about how to apply their skills. Obviously, creating type that is too closely related to existing models doesn’t justify the effort involved. Or as my Type & Media colleague Erik van Blokland says: “If an existing typeface does the job, there is no reason to make a new one.”Click to Edit
Regular 0px