· David Berlow
SEEN AND NOTED, SKETCHES, WEB FONTS · April 13, 2012
SKETCHES · April 13, 2012
A portrait of printer/scholar/typographer Daniel Berkeley Updike, drawn during a presentation about him by one of my students.
NEW TYPE, NEWS, TYPE DESIGN · April 2, 2012
You may be wondering, ‘why Neue Haas Grotesk when we have Helvetica?’ To offer the best reason, and the one that’s the most interesting, we have to go back quite a few decades, to Switzerland.
Neue Haas Grotesk was the original name given to the typeface that Max Miedinger drew in the 1950s for Haas’sche Schriftgiesserei (Haas Typefoundry) in Switzerland under the direction of Eduard Hoffmann. It was designed to compete with the German-designed Akzidenz Grotesk and others. Shortly after release from Haas, the name was changed at the request of parent company Stempel to “Helvetica” (Latin for ...More ...
NEWS · April 2, 2012
Providence’s Cable Car Cinema commissioned me to create a poster for their screening of Orson Welles' revenge flick, Touch of Evil. It’s a big three-color screen print and it’s available from Tiny Showcase.
BEHIND THE SCENES, INTERVIEWS, SKETCHES · February 10, 2012
Many know Cyrus Highsmith as one of today’s most original type designers. He combines an energetic, illustrative approach with enthusiasm for typographic communication, leading to a diverse library of original designs. He has created exquisite scripts, industrial workhorse sans, and dynamic text serifs — all with equal ease and distinction. Highsmith considers himself a draftsman above all, and his work demonstrates a lifelong passion for drawing. In this video, he invites us into the world of his sketchbooks.
SKETCHES · February 2, 2012
What’s better than getting a bunch of comic books in the mail all the way from Spain? When the box has great lettering on the address label.More ...
INTERVIEWS · January 23, 2012
Insightful, witty, and always entertaining – the geniuses of typography,
SKETCHES · January 10, 2012
SKETCHES · December 23, 2011
NEWS · December 7, 2011
Few major publications have yet been able to do what The Boston Globe did recently – mirror their brand typography in both print and digital editions. Stephen Coles’s recent post on Fonts In Use details the typography of the new BostonGlobe.com and the newspaper’s emphasis on maintaining the newspaper’s identity through its typography. At the heart of the design is the use of the screen versions of their brand fonts, Benton Sans and Miller Headline via Webtype. The result? The Globe still feels very much like the Globe. Read on...More ...