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.…
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,…
With an almost obsessive focus on readability, LudwigType, the one-man foundry from Berlin, fits right in at Type Network.
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.
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.)
Jessica Hische’s chic, graceful script punctuates a whimsical new video promoting tourism in the Beaver State.
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.
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.