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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.
My friend Joanna sent me an email a couple of weeks ago saying, “I heard a news blip this morning that I thought was sort of fascinating.” She went on to quote the news item about the University of Wisconsin-Green Bay’s decision to switch to Century Gothic as the default for all printed campus e-mails.
“You should design a ‘green’ font,” she urged.
I began to respond with a dissertation about how there are plenty of so-called “green” fonts already, but it got me thinking.
As some news articles have noted, most fonts that are light in weight or ...
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 ...
A common maxim among type designers is that drawing a typeface isn’t about drawing beautiful letters: drawing a typeface is about making beautiful words. A typeface is a collection of separate parts that have to work together in every possible combination to form unified words.
Words can be very different from each other. A word can be as short as a single letter, or a word can be incredibly long. A word can be all lowercase letters, or a word can be all uppercase letters. A word might be a combination of both upper and lowercase letters. A word ...
Elk Grove Village, IL — September 8, 2009 — Ascender Corporation, Carter & Cone and The Font Bureau, Inc. announced today that they are working on a project in conjunction with Microsoft to extend the Georgia and Verdana typeface families. This project began more than a year ago, and the first of the new typefaces are expected during the first quarter of 2010.
More details at Ascendercorp.com
July 15, 2009 - Boston
With 1994’s foundation of the World wide Web and the release of the first graphical web browsers, and until 2006, unique typographic identities on the web could only be attained by converting, or rendering, outline font data into graphics, and posting the graphic. Browser developers set the default fonts of their products to fonts found on the OS each browser was made for, and this combination of pre-rendered and OS-rendered default fonts was how web typography was done. The OS, though they can handle all the fonts required for any design purpose, have been counting ...
Above is a close-up of some hand lettering from a recent project. It is nice to get away from the computer once in a while!
In typography, it’s a commonly held belief that a typeface should do its job quietly, in the background. The reader’s attention is for the content of the story, not the form. Type does affect the text’s tone of voice, but usually in subtle ways.
In comics, the relationship between form and content is different. Cartoonist Walt Kelly pioneered the use of different lettering styles to represent his characters’ personalities and accents in his amazing newspaper strip, Pogo. Often the word balloon’s contents were as elaborate and expressive as the funny animals who uttered them.
Pogo Possum ...