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.
“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.
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.
‘Ras as-Sana’ drawn in Kufic style lettering.
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.
Hebrew lettering, inspired by Ben Shahn.
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.
David Berlow, Font Bureau founder, and Jim Parkinson, who drew ...