NEWS · January 19, 2010
INTERVIEWS · January 12, 2010
“At ATypI in Mexico City Stephen Coles broached the topic of kerning with Dyana Weissman of The Font Bureau, one of the few type designers who claims to actually enjoy the tedious task of assigning thousands of kern pairs to each font. She explains the difference between kerning and spacing, why it should be done by hand, and the mystical concept of flow.”
Watch it here on The FontFeed.
NEWS · January 11, 2010
I will be in America’s dairyland on the 14th to give a talk, sponsored by Design Madison. They suggested that I come in March when it’s warmer but I said no way I grew up in Wisconsin, I am coming in January. Doncha know.
SKETCHES · January 4, 2010
Happy New Year!
SKETCHES · December 18, 2009
‘Ras as-Sana’ drawn in Kufic style lettering.
NEWS · December 15, 2009
Our December newsletter’s holiday greeting of spreading hope in any language features Richard Lipton’s Sloop WGL. Allan Haley writes about the story of David Berlow’s Hutch for Rolling Stone. Adding to the buzz about fonts for the web is David Berlow’s interview on FontFeed, and Cyrus Highsmith draws an original scripty masthead for Rhode Island Monthly.
If you missed our November newsletter featuring decorated letters and more, view it here.
SKETCHES · December 11, 2009
Hebrew lettering, inspired by Ben Shahn.
NEWS · November 23, 2009
PARIS BEAUTY MEETS A ROLLING STONE
Hutch, from Font Bureau, is a modern interpretation of Cochin, another French typeface. Cochin was first released in about 1915 by the Peignot type foundry in Paris and was based on the lettering of late eighteenth-century French copperplate engravers.
Metal and phototype versions of Cochin were used in some of the first issues of Rolling Stone magazine. When Joe Hutchinson, the magazine’s current art director, approached famed publication designer Roger Black about creating a display typeface for the publication, Black immediately suggested Cochin.More ...
SEEN AND NOTED · November 13, 2009
Drawing a masthead is a nice change of pace. While a typeface contains hundreds of different glyphs, a masthead is usually just several letters long. You even know what order they go in. In contrast, the parts of a typeface can be assembled in almost any sequence and the letter drawer must plan for that.
There are some folks who delight in obscure letter combinations, archaic diacritic marks, and other linguistic minutiae. And it is important to take care with such details. Sometimes, I also like to just draw though.
I had a great time drawing this masthead for a ...More ...
INTERVIEWS · November 12, 2009
“ATypI ambitiously billed this year’s Typ09 conference as the discussion epicenter for the future of fonts on the Web... The loudest — and often the most interesting — of these voices was unarguably David Berlow’s.” Read more by Stephen Coles...More ...