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NEWS, TYPE DESIGN · November 4, 2010

iLT: Reviving Caslon

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]

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BEHIND THE SCENES · October 25, 2010

TypeCon Letter-Drawing Collage

Draw a letter, any letter! And so you did. We thank all of you at TypeCon who stepped up to our exhibit table in Los Angeles and participated in our letter-drawing collage.

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NEWS, TYPE DESIGN · October 6, 2010

Slab Happy: Trilby Reviewed by Paul Shaw

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...


NEWS · September 28, 2010

Matthew Carter Among the 2010 MacArthur Fellows

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.”


NEWS, WEB FONTS · August 20, 2010

Webtype Launched by Partnership of Experts

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.

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NEWS · August 17, 2010

Imprint: Roger Black Discusses Future Potential for Type Design

On Imprint, Michael Dooley interviews Roger Black about the future potential of type design in advance of Black's keynote on Thursday night at TypeCon2010: Babel in Los Angeles. The presentation is sure to be engaging, given Black’s penchant for envisioning radical change and peering further ahead of the curve than most of the rest of us can see. Read more here.

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NEWS · July 26, 2010

SPD: Roger Black on Ready Media

As Robert Newman writes, “A post earlier this week on the SPD [Society of Publication Designers] site about the new Ready-Media project...was the most controversial item we’ve ever published. It attracted passionate and articulate comments, both pro and con...” In a follow up, Newman asks Roger Black to answer some questions about Ready-Media and here’s what he had to say.


NEWS · July 20, 2010

Announcing Ready-Media.com

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BEHIND THE SCENES · June 18, 2010

Another May. Another Year.

It was that familiar time of year again: the first weekend in May, when we all descend on Martha’s Vineyard for yet another offsite meeting. This year’s gathering included more than twenty of us — Font Bureau designers and staff, consultants, and type board.

There are two reasons why we have offsites — to socialize and to work. Since we’ve become a distributed work environment, it’s a chance for us to reconnect face-to-face with co-workers and to keep connected as a company. We review what we did in the past year, strategize where we’re going, and calibrate ...

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PARKER TYPE HISTORY · June 18, 2010

Mike Parker’s Story of Type

We often hear “Why do we need more fonts?” One might also ask, “Why write another history of type?” Mike Parker suggests that Rookledge’s International Directory of Type Designers* has 90 percent of everything one needs in terms of factual information about type throughout history; but it lacks a narrative story of type and doesn’t connect the influences throughout type’s organic evolution.

Mike Parker was exposed firsthand to type history as an evolving story over the centuries when he worked at the Plantin Moretus Museum in Antwerp in the mid 1950s, where he was charged with cataloging ...

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