Tag Archives: Typography

Typografic Illustrations

3 May

This is how typography can be visualized! Here are some of a successfull typographer and illustrator Alex Trochut’s works.

http://abduzeedo.com

A newborn baby!

8 Apr

Urikane created a new font from 540 iPhone applications and at the end there comes out a delighted view. Just have a look at it!

*And for more visit http://urikane.com/

The New Typography

16 Feb

In the 1920s and 1930s, the so-called New Typography movement brought graphics and information design to the forefront of the artistic avant-garde in Central Europe. Rejecting traditional arrangement of type in symmetrical columns, modernist designers organized the printed page or poster as a blank field in which blocks of type and illustration (frequently photomontage) could be arranged in harmonious, strikingly asymmetrical compositions. Taking his lead from currents in Soviet Russia and at the Weimar Bauhaus, the designer Jan Tschichold codified the movement with accessible guidelines in his landmark book Die Neue Typographie (1928). Almost overnight, typographers and printers adapted this way of working for a huge range of printed matter, from business cards and brochures to magazines, books, and advertisements. This installation of posters and numerous small-scale works is drawn from MoMA’s rich collection of Soviet Russian, German, Dutch, and Czechoslovakian graphics. They represent material from Tschichold’s own collection, which supported his teaching and publication from around 1927 to 1937.

Typographer’s Typography by Charlie Nix

12 Feb

an article by Charlie Nix from the site The Type Directors Club

http://www.dexigner.com/jump/directory/6628

Typographer’s Typography

The Type Directors Club has been advancing and preserving the best of typography for over 60 years. That’s a long time. Typography, the TDC annual, is testimony to the remarkable evolution of style and technology in our profession—from modernism to mashups, from metal type to Minion Pro, from bookplates to broadband. If the last 5000 days is any indication, the next 60 years will be even more remarkable.

We are living through a typographic renaissance. Over the past twenty years, there has been an explosion of typefaces, the like of which we have not seen since the introduction of the pantograph-punchcutting machine and the Linotype in 1880s. The internet has evolved to include typographic communities–selling, sharing, celebrating, and critiquing type. Design education programs are springing up everywhere, and with them, a host of typography courses. Typographic awareness is at an all time high. Many are discovering and rediscovering the work of legendary typographers. And many of them are among the TDC’s earliest members: Aaron Burns, Freeman Craw, Louis Dorfsman, Gene Federico, Ed Gottschall, Herb Lubalin, Bradbury Thompson, and Hermann Zapf.

Against this backdrop, the Club launched an initiative to rebrand itself–to reflect more accurately the nature of what we do, the sphere in which we as typographers operate, and the members who make up the Club. An identity committee was formed, a design brief was created, and another legendary designer (and 29-year TDC veteran) was approached: Mr. Roger Black.


Roger’s record of revamping publications and branding companies speaks for itself. His typography is bold, iconic. He is steadfast in his dedication to typographic detail, in print (the Los Angeles Times, Houston Chronicle, magazines like Rolling Stone, Esquire, and lately, the Washington Post and Commentary magazine) and on screen (Bloomberg.com, msnbc.com, Discovery.com, and @Home). He’s a typographer’s typographer, and we were thrilled when he agreed to take on the project. His response to the brief is brilliantly elegant. Both informal and monumental, it’s bold lowercase forms reference the Club’s web present/presence, while the incorporation of the previous mark (designed by Gerard Huerta) acknowledges the Club’s rich history. Roger chose the new ITC Franklin Gothic, carefully redesigned and re-digitized by Font Bureau chief, David Berlow.

The new logo is already out there, acting as our silent ambassador. It’s on the new TDC letterhead, to be sure, and on the revamped TDC website (designed, maintained, expanded daily by board member Brian Miller, after the template set by Mr. Black). You’ll also see it on Twitter and Facebook, and soon, members will be able to feature it on their own sites as a TDC membership badge.

The Club is deeply grateful to Roger, to David, and to the Identity Committee: former board members Ted Mauseth and Maxim Zhukov, TDC Vice President Diego Vainesman, board member Matteo Bologna, and TDC chairman emeritus Gary Munch.

* From the Font Bureau site: “In 1902 American Type Founders’ release of Franklin Gothic introduced Morris Fuller Benton. In 1979 Victor Caruso, International Typeface Corporation, increased the series to four photocomp weights, Light, Medium, Bold and Black, all with italics. In 1991 David Berlow added Condensed, Compressed and Extra Compressed widths. Berlow has completed his definitive revision, a single new series, ITC Franklin; FB 2008″

ANIVERS

17 Dec

ANIVERS-Birth of a typeface

by Jos Buivenga

“When I was asked by Smashing Magazine (SM) in 2007 if I could release a free font to celebrate their first anniversary I first thought that the release of Museo could very well be that font. However, it was nowhere near ready and, not wishing to rush things, I started to play around with some sharp elements I liked to see if something could grow out of it.

Anivers, the beginning

Still far too constructed of course, but the sharp elements did offer nice connections which I decided to keep and transpose to other characters as a key feature of Anivers.

Anivers, the beginning
To give more attention to that detail I changed all other finishing strokes to angular ones.

Anivers, the beginning

When I e-mailed the first images for response to SM and revealed the name Anivers they were really thrilled and that was a great motivation. Working on Anivers was in this case a little different, because it had to remain a secret. Usually at some stage I post previews on my blog to get feedback and to get an idea if a font is worth finishing.

Anivers, the beginning

Refining and expanding

Still lots to be done. I only had a base, a feeling of how it should look. In the first print tests I did, the x-height was too small and the whole image of the font looked too fat. Once adjusted I worked out the other (basic Latin) characters, tested spacing and did some preliminary kerning runs. When all was to my liking I fitted Anivers with CE and Esperanto language support (also a Versal ß) and expanded kerning.

Anivers, the beginning

Besides ligatures I designed and scripted contextual alternates for the f (and ff ligature) to prevent undesirable collisions.

Anivers, the beginning

Finally it was time to send her out to some people who tested the font on different systems with different programs. Anivers was released on September 5th 2007 and quickly became the second most popular/downloaded font of mine (after Delicious).

PART II — The Anivers family

It started with italic

In February 2008 Hans Lijklema, a Dutch designer living in Poland, contacted me because he was working on a book called the Free Font Index (to be published by Pepin Press later this year) and wanted my free fonts to be part of the book. Because Hans decided to set the book in Anivers, I asked him if he didn’t want an italic to set the interviews in.

Anivers, the beginning

I condensed the italic slightly and made it a tad lighter for better contrast with the regular weight. With the italic almost finished I decided that it would be nice to do a bold and a small caps version too and make it an official release.

Anivers, the beginning

With the extension of the Anivers family, the regular has undergone a major update. First it needed the same language support (Latin / Central European / Croatian / Romanian / Icelandic / Turkish / Esperanto) as the other fonts, and I improved several character shapes. I also took a fresh look at the numbers and currency signs. If you use the OpenType case feature together with stylistic alternates set 1, numbers can be easily processed. The case feature changes the currency signs and puts them and the numbers on a fixed width; and stylistic set 1 offers space, period, comma and hyphen that are half the width of the numbers. All weights and styles have family-consistent (equal) widths.

Anivers, the beginning

Igino Marini and iKern

Still in the middle of things and absolutely not finished, I got an e-mail from Igino Marini with a reworked version of my previous Anivers. He had spaced and kerned Anivers with his iKern app and it looked really great.

Last month I read this quote on Jos’s blog: “I work 4 days a week”. I felt in it the dichotomy between a job and a passion. Maybe because I was feeling the same. That’s why I sent him the iKerned version of Anivers telling: “My understanding now is that fitting is not a matter of art but just a technique. So I’d prefer to think you designing new faces than losing time in such a boring task”. He liked the prospective of a new workflow. Maybe because he’s struggling with time, like me. But I think because he didn’t feel dethroned as a designer. Building metrics is not a creative task. I can state this because iKern reconstructs the “rhythm” of letters extracting data from the outlines themselves: a way to follow the glyphs’ nature. I think Jos has been happy not only for the results. I think he understands that quality and productivity are main keys to “survive” today. — Igino Marini

My first question to Igino was if I could license iKern, but because that wasn’t possible (iKern is a service), I decided to have a go with Anivers to see how iKern could stand out, because I had seen how well the app performed with his own Fell Types. The font files were reworked by Igino and then send back. We did some test runs to determine spacing (family wide) and the level (tight <-> loose) of kerning. In the process of the test runs I adjusted character shapes that needed a better fit. All still (fortunately) has to be judged by the human eye and in the final release I adjusted a (very few) things manually. iKern makes it own classes for kerning and is extremely flexible. It really did the job for me.

The final family

The new Anivers has been expanded into a small but very rigid, reliable family. I’m very pleased with the end result and I’ve enjoyed every moment of the whole process.”

Anivers, the beginning

The new regular weight is still free. You can download or purchase Anivers at MyFonts.