‘Over the course of the next 12 months, the artwork was handcrafted character by character, totaling roughly 250 hours of work from start to finish. Characters from the Goudy Trajan and Bembo Pro typefaces form the Coliseum (or Colosseum)’
Cameron Moll’s limited edition Colosseo letterpress posters. Video above, more project details here.
‘This project has a dual goal of documenting the almost-lost skill of creating metal fonts and of capturing the personality and work process specifically of practitioner the late Canadian graphic artist Jim Rimmer (1931–2010)’
Richard Kegler’s long-delayed documentary, Making Faces: Metal Type in the 21st Century, has just secured just enough funding for completion.
For more about the film, go here and here.
Rimmer and Kegler
‘Mac McGrew’s 1993 2nd, revised edition is an important book for any printer, collector, student or aficionado of letterpress type. Equally valuable as a typeface reference and an insightful history of the typemaking industry in America.’ –Letterpress Type
THE book on metal typefaces cast in America (hint: not all of them have been digitized) is Mac McGrew’s American Metal Typefaces of the Twentieth Century.
Long out of print, this 398 page resource is available once again. Snag your copy here.
Pictured: my dog eared, Post-It note filled edition.
Found via Steve Matteson
Jason Munn
Just had a discussion – and major test question – involving 19th Century wonder Clarendon in my history class. As a type, Clarendon has been popping up all over the place for a bunch of years now.
I use it (paired with Jenson) for handouts in my introductory type course at ARC, up until recently, it was the corporate font for Starbucks . . . it just boldly says, read me.
New article (and cool samples) posted by SOTA’s Tamye Riggs here.
Jessica Fleischmann
Madeleine Eiche
Simon Dovar and Nils Davey
‘Is there a way to know what fonts will work together? Building a palette is an intuitive process, but expanding a typographic duet to three, four, or even five voices can be daunting.’ –H&FJ
‘how do I pick the right font?’
. . . is the most common question I’m asked in my type courses. And my answers aren’t usually simple. I liken it to picking the right suit, tie and shoes.
What handbag will work best, nail polish, lipstick, gloss or none, which eye liner will simply look great . . .
One learns by doing. [Read more →]
‘Joos is a revival of an upright italic created in 1536 in Gent. This work is not a formal revival but it faithfully fits into the scheme of Joos Lambrecht (punchcutter), which was to idealize roman types by bringing together the characteristic graceful shapes of italics and the angularity of romans.’
Not all Italics are slanted – they have their origins in calligraphy.
More about Laurent Bourcellier’s beautiful Joos fonts here.
Found via Colin M. Ford
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