‘The list includes the unpublished Brownstone Sans (Certificate of Excellence), Business Penmanship, Calgary Script, Kewl Script and Semilla by Ale Paul and RadioTime by John Moore. Two more works were selected under the “in use” category.’
The Bienal Tipos Latinos have announced their 78 picks for 2010. Included are works from Sudtipos (pictured).
‘Limited edition 2009 Klim Type Foundry specimen book. 210 × 140mm 96 page book, printed black on 118gsm Mohawk Navajo. Sewn-sections, Otabind binding.’
Great fonts by Kris Sowersby, great specimen book.
(Tho: I always knew Klim as Milk spelled backwards)
Go here.
Found via Stefan Hattenbach
‘The magazine takes a very simple concept as its initial talking point: if you could only use eight typefaces for the rest of your life, what would they be?’
Coming soon: Elliott Jay Stock’s 8 Faces magazine.
The debut issue will feature Erik Spiekermann, David Carson, Jessica Hische, Jon Tan, Jos Buivenga, Ian Coyle, Bruce Willen & Nolen Strals.
Details here.
Found via Typegirl, Aaron Bell
‘Award-winning Typo-Animation that gives you a clear impression of the enormous amount of visual stimuli that plague us every day.’
Grab a Heine and look around. Type is everywhere.
Kapitaal is a film by Ton Meijdam, Thom Snels, Béla Zsigmond of Netherlands-based Studio Smack. Music by The Exploding Shetland Ponies.
I don’t buy a calendar anymore.
Because, like clockwork, a super cool one will arrive in the mail; typically a bit after the New Year has arrived.
For the past 15 years, Thomas Krug has been mailing me an incredible calendar. It often arrives in a large box and it always dazzles. Elaborate printing techniques, special inks, die cuts – a mesmerizing trip of photography and design.
Thomas is the owner of the Traffic design agency in Winnenden, Germany. And his firm’s self-designed calendar is one helluva promotional item. [Read more →]
‘a ‘Tart Card’ to support the St Bride Library, London’
I Love Typography takes a look at the holdings of the library of the Gutenberg Museum in Mainz. More than just Bibles.
Article here.
The concept of ‘negative space’ (or ‘white space’) as an important part of type design is very difficult to teach. The student either sees it right away, it clicks over time or sometimes the concept is just weird enough to cause them to back away very slowly.
It’s a up is down, left is right sort of thing. Pen strokes are important, but so are the parts that aren’t made by the pen.
Just the right amount of negative space defines the character and readability. Claude Garamond (c. 1480-1561) was a master at this; it’s one of the reasons his types are still incredibly popular today.
Here’s some cap E comparisons to chew on.
Plus, here’s a great breakdown of today’s Garamond interpretations (images below).
And, an interview with the master himself.
Cap Es found via Nina Stoessinger; Garamond comparisons by Barney Carroll
Why doesn’t the Trajan font have lowercase?
Traditionally, Trajan is based on a carefully drawn and carved inscription at the base of Trajan’s Column in Rome – crafted sometime around 113 A.D.
And basically, lowercase didn’t exist yet. What we call lowercase – minuscules, our second alphabet – evolved over the next 1000 years (or so).
So what would Trajan look like if it actually did have a lowercase? This is open to interpretation.
Dave Farey and Richard Dawson’s La Gioconda is one take on this, adapting the 16th Century lettering of Giovanni Francesco Cresci as the companion letterforms.
Check it out here.
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