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Change orders
Type design is to some extent an anticipatory, predictive art. Designers can never know with complete certainty how their typefaces will fit into the world; they can only imagine. Sometimes, real-world uses lay bare the need for adjustments or additions—changes.…
ScreenFonts: May 2018 | The Leftovers
These posters didn’t make the cut, but are still noteworthy for their design and/or typography.
ScreenFonts: May 2018
This episode put me in a contemplative, even slightly melancholy mood, with posters for Disobedience, The Endless, Akher ayam el madina (In the Last Days of the City), Dayu haitang (Big Fish & Begonia), Good Luck, Blumhouse’s Truth or Dare,…
Ludwig Übele finds his way to Type Network
With an almost obsessive focus on readability, LudwigType, the one-man foundry from Berlin, fits right in at Type Network.
TYPO Labs 2018: How far can we go?
As variable fonts continue to mature, the well-regarded Berlin conference has already started looking beyond pure font technology, forging connections with the world of web design and crossing over into virtual reality.
ScreenFonts: April 2018 | The Leftovers
These posters didn’t make the cut, but are still noteworthy for their design and/or typography.
ScreenFonts: April 2018
This episode features posters for Gemini, Hondros, Pacific Rim: Uprising, The Death of Stalin, Red Sparrow, Flower, Thoroughbreds, and Unsane, with some interesting interactions between the characters (the type) and the characters (the people.)
Tilda’s enchanted travels through Oregon
Jessica Hische’s chic, graceful script punctuates a whimsical new video promoting tourism in the Beaver State.
A daily sketchbook
A sketchbook looks like such a simple thing. But in fact it’s a complex space for learning to think and see, and for negotiating a practice that traverses several activities: designing type, teaching, making prints, and illustrating.
Inside the fonts: Antenna and Antenna Serif Stylistic Sets
Cyrus Highsmith’s design took a little detour during its conception. Then it blossomed into a powerful pair of coordinated sans- and slab-serif families.
ScreenFonts: March 2018 | The Leftovers
These posters didn’t make the cut, but are still noteworthy for their design and/or typography.
ScreenFonts: March 2018
A supernatural beginning and a downright weird ending: this episode looks at posters for Black Hollow Cage, Nostalgia, The Female Brain, Driving While Black, Game Night, Mute, Rehepapp (November), and Are We Not Cats.