Last week Fortune magazine unveiled a bold new look, spearheaded by creative director John Korpics. To herald the new direction, Korpics commissioned Cyrus Highsmith to draw a new logo for the nameplate.
Now entering its 80th year, Fortune magazine has had an illustrious history, often noted for its journalism and photography. A new logo needed to be distinguished, to demonstrate boldness, and to signal success.
Web Fonts Panel
Saturday March 13, 9:30am, Ballroom B
Font Bureau’s David Berlow and Roger Black will be joined by Typekit’s Jeffrey Veen, Stephen Coles of FontShop/Typographica, and Bert Bos of W3C in what will surely be an engaging conversation about what we’ve all been waiting for. The time has come for web fonts.
Web Fonts Party
Sunday March 14, 6-9pm
Join the party at Shangri-la with our co-hosts Typekit, FontShop, and Webtype for chats on fonts, the web, and the future of of it all. We’ll have demos, a DJ, and drinks are on us (while tickets last)!
[Excerpted from HOW magazine's February 2010 issue, used with permission from the author and publisher.]
Who says the serif is dead? Type expert Allan Haley bucks the sans serif trend, with a look at seven versatile new serif fonts you can add to your type wardrobe. One of them is David Jonathan Ross's Trilby.
Reversed-Stressed Slab Serif
David Jonathan Ross has had a long-standing affinity for the French Clarendon type style. One of his earlier designs, Manicotti, takes the style to its extreme. He said he reveled in exaggerating the "wagon-rut" tracks of horizontal weight distribution. In his ...
photo copyright 2010 Elias Roustom
EM Letterpress recently printed a beautiful book of poetry by Barton Levi St Armand with illustrations by Walter Feldman. The poems are set in the inimitable Dante with Relay for the headers.
“In this edition we’re getting down among the serifs, fiddling about with fonts and dabbling in Qwerty as well as trying to make sense of the Myers Briggs test and where it’s usefully employed. How has the idea of the book and the mechanical printing press fared since Gutenberg’s great idea?”
Check out the sonic collage that is The Night Air podcast.
The month of January typically sees many “Best Of . . .” reflections on the year just past. John Boardley over at the I Love Typography blog has recently added his own personal Favourite Fonts of 2009 to the mix. Heading up his list is FB’s Trilby by David Jonathan Ross.
There’s no actual significance to the order, but we’re pleased to have landed a top spot anyway. And Trilby is in good company: It’s a wonderfully eclectic and tasteful gathering of fonts.
Read more by John Boardley.
At the heart of calligraphy is the stroke that comes from the pen, the brush or whatever tool you choose to dip into the black ink and pull across the white page. Type design can of course be looked at through the lens of the calligraphic stroke. And it often is.
But what interests me is what makes typography and calligraphy different. In movable type, each character has a certain amount of letter space, and a fixed amount of line space, that belongs to it. In foundry type this is becomes the body, it’s a physical thing. In my ...
On its recently redesigned website, the Society for News Design (SND) asked FB co-founder Roger Black to talk about what’s ahead for visual communication in the 2010s. They present his observations in both transcript and video webcast format. Read/watch the interview at snd.org.
Today, Matthew Carter is overseeing the re-working and expansion of the Verdana and Georgia font families, with David Berlow of The Font Bureau leading the effort ... read more at macworld.com.