Named after the hedera symbol, or what Robert Bringhurst calls a “horticultural dingbat,” The Ivy Foundry offers a cool quartet of type designs from Denmark.
Type sorcerer Oded Ezer extends the mighty morphing display family to support the Hebrew script.
After releasing a supersized modular bitmap family in 2017, Petr van Blokland raises the bar for sans faces with his first “traditional” type release in nearly two decades.
Defying legibility conventions. Shattering images. Subverting any sense of scale. Turning the world upside down. This episode looks at posters for The New Radical, The Shape of Water, Foxtrot, Kaleidoscope, Star Wars: The Last Jedi, Downsizing, The Phantom Thread, and…
After hiring each other for multiple projects during a prolonged business courtship, Ben Kiel and Jesse Ragan committed to starting a foundry together in 2017. They join us with a vibrant type library and a passion for craft and technology.
This episode of ScreenFonts unexpectedly turned out to resemble a blind taste test. I look at posters for My Friend Dahmer, Roman J. Israel, Esq., Mugen no jûnin (Blade of the Immortal), Along for the Ride, Thelma, Most Beautiful Island,…
Designer Jeremy Landman takes Font Bureau’s seven-width wonder to mind-bending heights in a new Netflix docudrama.
The Amsterdam Signpainters collective brings the luscious loops of Retype’s Krul back to where the vertiginous forms came into being: on the windows of the Dutch capital’s happy “brown bars.”
From gritty to ethereal, beauty takes many forms. This episode of ScreenFonts features posters for mother!, Woodshock, Flatliners, Battle of the Sexes, Marshall, The Killing of a Sacred Deer, Bunker77, and Wexford Plaza.