If you can read that, you might enjoy this interview with me at Font Club.

What an extraordinary year in type and typography. And I am certainly not likely to be alone in observing this. After a decade and a half of struggle, “web fonts” finally took off and ran smack dab into issues of rendering, metadata, and licensing, while also running right through various font formats and cross-platform output-equivalence issues without stopping for a chat.

Font designers, web programmers, server specialists, standards organizations, applications developers, and psychologists swelled the ranks of great people who are now focused on issues like: networked, multi-platform, dynamic typography and layout; auto-hinting for rasterization across operating systems; and my ...

Earlier this year, Fortune magazine launched a new redesign featuring a new logo drawn by Cyrus Highsmith.

Just recently, Fortune’s creative director John Korpics came back to us to commission a special version of that logo to add some depth to the cover of Fortune’s annual investment issue. He was looking to capture some of the complexity and dimensionality of old banknotes, but without straying from the logo’s strong, contemporary look.

Cyrus had started some 3D sketches while designing the original logo, so I had a great place to jump off from. That meant I was left ...

Fonts In Use will catalog and examine real-world typography. From the editor: “So much of design critique is focused on graphics and photography. It’s time to shed light on the most basic element of communication: the type. At Fonts In Use we’ll catalog and examine real-world typography wherever it appears — branding, advertising, signage, packaging, publications, in print and online — with an emphasis on the typefaces used.” Read on...

R Crumb said he traded one of his sketchbooks for a house in the south of France. I haven't had offers like that for any of my sketchbooks but I was very proud to contribute a few pages to Graphic: Inside the Sketchbooks of the World's Great Graphic Designers by Steven Heller and Lita Talarico. I received a copy yesterday. I am impressed with the diverse selection of sketchbook pages from some very talented people including Laurie Rosenwald, Scott Stowell, and many others. It’s a great book. Also, please get in touch if you have a house ...

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]

Paul Shaw reviews Trilby in an article for Print magazine. “Although the sans serif was originally a bastard offspring of the slab serif, the latter has been copying the former for the past 80 years, and Trilby by David Jonathan Ross continues this trend.” Read more...

The following is the text from the presentation I gave at Matthew Carter’s AIGA Boston Fellows Award ceremony on September 24, 2010.

Accolades again to Matthew Carter! On the heels of receiving the AIGA Boston Fellows Award, he is among 22 others selected for the 2010 MacArthur Fellows, often referred to as the “genius award.” This year includes an impressive line up of recipients working across a broad spectrum of endeavors. Read more here about “a type designer crafting letterforms of unequaled elegance and precision that span the migration of text from the printed page to computer screens.”

Led by Font Bureau and Ascender Corp., Webtype.com introduces a new range of web fonts optimized for high quality text rendering across browsers. Webtype.com launches an innovative web font service to improve web typography.