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We continue onward to early 16th century France. French type design was influenced by the Italian Renaissance (especially the work of Aldus Manutius) but eventually evolved to have its own distinct character. Augereau was among the early founders to start the trend, while Garamont’s roman types became the best known. Jannon’s types are most infamous for being mistaken for Garamont’s in the 19th century. And Granjon elevated the French oldstyle forms to new levels of vitality.
From Font Bureau’s library there is Throhand, FB Garamond, and Meno, all designed taking reference from these type masters.
December 1, 2010
Letter space is the white space between the letters. It’s like a puzzle piece that holds them together.
Chapter II, fifth installment. Italy. Venice and Rome more specifically. We meet great writing masters, punchcutters, and printers in such names as Manutius, Griffo, Tagliente, Arrighi, and Blado.
II. Old Style Roman and Italic Typefaces (continued)
Aldus Manutius (Venetian, ca 1450-1515)
Francesco Griffo (Venetian, died ca 1517)
Ten years after Jenson’s death Aldus Manutius and his brilliant punchcutter, Francesco Griffo, moved to Venice, where they printed from 1495 until Aldus’ death twenty-five years later. He ran four presses, the first industrial printer. Griffo’s first roman type appeared in 1495 in Cardinal Bembo’s “De Aetna.” In 1532 this ...
Part 2: Readability, Affability, Authority
On the i love typography blog, William Berkson, designer of Williams Caslon Text, posts part two of Reviving Caslon. He begins, “When their words are put into print, writers want the text to be inviting and welcoming, so that readers will read what they have written. And they also want the text to have an aura of credibility, so it will be taken seriously and maybe even accepted.” Read more...
[read Part 1: The Snare of Authenticity]
November 4, 2010
A limited edition poster by Cyrus Highsmith.
Obama is a central focus in this midterm election. Candidates associate themselves with the President or oppose him. So I would have thought the visual identity choices would reflect this relationship. Not so much.
Draw a letter, any letter! And so you did. We thank all of you at TypeCon who stepped up to our exhibit table in Los Angeles and participated in our letter-drawing collage.
It’s rare for Font Bureau to have an intern, but for three weeks we were delighted to have Louise Paradis intern with us in our Boston studio. She hails from Montreal, worked in Los Angeles for a time, and is now a graduate student in art direction at ECAL, Ecole cantonale d’art de Lausanne (University of Art and Design Lausanne) in Switzerland. I had a chance to talk with her before she left.
MLM: What led you to Font Bureau?
LP: Well, one project for a class of mine was by my professor François Rappo. He required us ...
The beginning of Chapter II is the fourth installment of Mike Parker’s Story of Type. Old style roman and italic typefaces are introduced, where capitals modeled after ancient Italian incised inscriptions are combined with a lowercase modeled on the forms of the Carolingian minuscule. The time period spans from the mid 15th century to the early 19th century and focuses on punchcutters of Italian, French, Dutch, British, and Hungarian origin.
II. Old Style Roman and Italic Typefaces
Nicholas Jenson (French, 1420–1480)
In Venice, the first great cultural center of the developing Renaissance, the blackletter used by the mediaeval ...
October 12, 2010
A very brief animated version history of the book, more or less.