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  A review by James Puckett Jim Williams is a senior lecturer at Staffordshire University, where he compiled an excellent series of student handouts about typography. In 2010 the handouts were featured on Creative Review’s blog which generated interest from publishers. The handouts have now been published in book form as Type Matters. Williams is well qualified to write this title; he has worked as

  • テクノロジー
  • 2012/05/02 18:08
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  The design of a signage typeface — I Love Typography

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  The story begins in 2006 with a trip down Route 66. Day in, day out, I looked at U.S. traffic signs that were either set in the old, somewhat clumsy “FHWA font series” or the new Clearview HWY typeface. Approaching the signs, I would often test myself: which typeface works best from a distance, and which of its features or details might be responsible for its performance. I had so many more questi

  • テクノロジー
  • 2012/04/19 11:39

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  Garçon Grotesque — I Love Typography

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  Honesty in form is one of the major tenets of modernism. In other words, a design should accomplish a narrowly defined function in the simplest manner possible. This belief is extolled in many design disciplines, including typography. In 1931, Eric Gill wrote: “The world is not yet clothed in garments which befit it; in architecture, furniture, clothes, we are still wearing things which have no re

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  • 2012/02/27 02:34
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  タイプデザイナー 岡野邦彦 Quintet書体インタビュー — I Love Typography

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  by Taro Yumiba 2010年の九月から約一年間、オランダ、ハーグにある王立芸術アカデミー、通称KABKのTypemediaコースに留学されたタイプデザイナーの岡野邦彦さんに卒業制作で取り組まれた書体Quintetを中心にインタビューさせて頂いた。 どのようにしてタイポグラフィとタイプデザインに興味持ったのですか？ 大学ではグラフィックデザインを専攻していました。ポスター制作などの課題が出た時に、使う文字を調べるために書体のカタログを見たりしてたのですが、なかなかイメージにぴったりと合うものがありませんでした。だったら自分で好みの書体を作ってしまおうと思ったのが始まりでした。 また運のいいことに、当時まだ高価だったMacintoshとFontographer3.1が大学の研究室にあったんです。Macintoshがまだそれほど普及していない頃で、誰も使い方がよく分からなかったのです

  • テクノロジー
  • 2012/01/16 13:58

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  An interview with Kunihiko Okano — I Love Typography

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  By Taro Yumiba How and when did you become interested in typography & type design? At university I majored in graphic design. I used to leaf through typeface catalogs in search of letters to use in my poster design assignments. However, I could never find any typefaces that matched perfectly what I had in mind, so I began making my own. I was lucky enough to have access to a Macintosh and Fontogra

  • テクノロジー
  • 2012/01/13 20:53

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  the week in type Perhaps you thought ‘The Week in Type’ was dead. Well, this post marks its resurrection. It won’t be weekly just yet, but from 2011 it will be: a weekly roundup of new releases, type and lettering to inspire, type tips, videos, and lots, lots more. If you haven’t yet subscribed to ILT, then do so now — that way, you’ll never miss a thing. So, ladies and gentleman, without further

  • テクノロジー
  • 2010/12/11 10:18

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  Features

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  The Type1 format where 256 characters are assigned to keys on our keyboard, is becoming a thing of the past. We now design and produce OpenType fonts which can consist of thousands of characters — additional ligatures, various figure sets, small caps, stylistic alternates, … — referred to as glyphs. With these many sets of glyphs integrated in a single font, we are faced with the challenge of incl

  • 世の中
  • 2010/11/18 21:07
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  'Dreams', 'Stars' & 'So Much To Do' — I Love Typography

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  3 new limited edition prints by Seb Lester I released three new limited edition prints today, ‘Dreams’, ‘Stars’, and ‘So Much To Do’. I’ll show all three prints in this article, but for practical purposes I’ll focus primarily on ‘Dreams’, one of my most ambitious prints to date. What follows is an outline of what I wanted to achieve, the lettering styles I developed, and why I produced it. I guess

  • テクノロジー
  • 2010/11/15 18:38

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  Reviving Caslon — I Love Typography

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  Part 2: Readability, affability, authority [read part one] 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. When I read Einstein’s Autobiography many years ago, as both a writer and a lover of ty

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  • 2010/11/02 21:18
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  The making of Acorde — I Love Typography

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  After five years of intensive work, my type family Acorde is finally on the market. It is a reliable workhorse for large, demanding design projects. The typeface’s name is derived from a corporate design typeface. However, Acorde is not only suitable for corporate design programmes but for information design and editorial design too. Overview of Acorde. The type family consists of 14 styles, with

  • テクノロジー
  • 2010/10/12 13:06

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  Who invented the alphabet? The Origins of abc — I Love Typography

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  Where does our alphabet come from? We see it every day on signs, billboards, packaging, and in printed and digital books and magazines; in fact, you’re looking at it now — the Latin or Roman alphabet, the world’s most prolific, most widespread abc. Typography is a relatively recent invention, but to unearth the origins of alphabets, we’ll need to travel much further back in time, to an era contemp

  • 学び
  • 2010/08/10 03:05

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  Reviving Caslon — I Love Typography

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  Part 1: The snare of authenticity How much should a revival of a typeface look like the original? Well, just as with performing an old song—an analogy Matthew Carter has made—there is something you have to like in the original in order want to revive it. And you can’t depart from the original too much, or you lose the charm of the old song that appealed to you in the first place. But if it is too

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  • 2010/07/27 01:39
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  Biome — the making of a typeface — I Love Typography

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  A biome in nature is essentially an ecosystem. It’s also the name for my new typeface family. And now that the 14-weight Biome™ Wide family is complete, I’m able to look back on the process. The drawings that led to Biome (previously known as Nebulon) were completed in 2006, but I discovered, when I uncovered the drawings recently, that I had been thinking for a long time about various unconnected

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  • 2010/07/02 16:57

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  By Kris Sowersby The impetus for Founders Grotesk originally came from Duncan Forbes of The International Office. We had often discussed the nature and usefulness of the classic grotesks, and the possibility of creating a new one. After trawling through my 1912 Miller & Richard specimen, he became enamoured with their series of Grotesques, particularly the No.7 all-caps showing. Grotesque No.7, Mi

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  • 2010/05/26 13:44

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  Type Matters — I Love Typography

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  ILT in Tokyo On May 19, I’ll be in Tokyo to talk about type. I’ll be discussing where letters come from, the history of typography, why typography matters, and how we can all create better typographic pages. The event will be held at the Apple Store in Ginza, Tokyo, 19:00-20:00. No ticket required, and entry is free. However, you must register through Atnd.org. It’s Japanese only; if you need help

  • 暮らし
  • 2010/03/30 16:18

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  A few things I’ve learned about typeface design — I Love Typography

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  Teaching on a postgraduate course feels very much like a spiral: the annual repetition of projects, each a vehicle for a journey of education and discovery for the student, blurs into cyclical clouds of shapes, paragraphs, and personalities. There seems to be little opportunity for reflection across student cohorts, and yet it is only this process that improves the process from one year to the nex

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  • 2010/03/25 15:13
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  The library of the Gutenberg Museum — I Love Typography

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  By Dan Reynolds I. Introduction Large or small, letters seem to inhabit their own universe. Re-arrangeable in any combination, they can spell out all conceivable messages, be they poetic, bureaucratic, or anything in between. But sometimes a text is just about its letters themselves, not an object to be read, but one to be looked at. Type specimens have taken various forms over the centuries, from

  • アニメとゲーム
  • 2010/03/01 10:10

  • 活字
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  My favorite fonts of 2009 — I Love Typography

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  But will it fly? Perhaps the most difficult part of compiling this list is not what to include, but what to leave out. There are, then, many other typefaces that should be in this list, but aren’t. Perhaps some of your favorites from 2009 coincide with mine; perhaps they don’t — I’d love to hear about them in the comments below. Without further ado: Trilby by David Jonathan Ross Who: David Jonatha

  • テクノロジー
  • 2010/01/21 10:01

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  The Week in Type Hoping that everyone is feeling refreshed, invigorated and inspired after Christmas and New Year. That we are now in 2010 is arbitrary, but it is at the same time a marker, the end of something, and the beginning of something else; a kind of armistice, an opportunity to dump all the bad, and begin a anew with the good. Well, that’s quite enough verbiage from me. May I present to y

  • テクノロジー
  • 2010/01/05 22:16

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  By Nadine Chahine Nadine Chahine is a type designer for Linotype GmbH, where she is also Branding & CI Manager, and Arabic Specialist. She designed Frutiger Arabic with Adrian Frutiger and Palatino Arabic with Hermann Zapf, for which she won the Certificate of Excellence in Type Design from the TDC. Today I’m excited to announce that Nadine’s Neue Helvetica Arabic has just this minute been release

  • テクノロジー
  • 2009/12/05 01:49

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  Reviewed by James Puckett I was excited when Taschen announced the first volume of Type: A Visual History of Typefaces and Graphic Styles, described as “This exuberant selection of typographic fonts and styles traces the modern evolution of the printed letter”*. Such language, including the title, is disingenuous, because this book is not a history. Type does contain a short essay by coauthor/coed

  • 暮らし
  • 2009/11/06 20:33

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  Typography wallpapers I have removed all the old and long outdated wallpapers. New ones on the way. New wallpapers (iPhone 6)

  • テクノロジー
  • 2009/09/29 15:44

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  By Elliot Jay Stocks When Johno first asked me to write about Typekit, I jumped at the chance. I’d received a beta invite to try out the service about a week before, but deadlines had got in the way of actually getting round to it. Now I had the perfect excuse to have a proper play, create a test site, and immerse myself in the technology that got the web design community frothing at the mouth whe

  • テクノロジー
  • 2009/08/09 15:08

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  Untangling the tangle With all the talk about web fonts, I think it’s time I tried to outline the present situation. I’ve not attempted to do so before, owing to the complexity of some of the material, and the speed at which things are moving. Web designers are generally not interested in technical specifications, TrueType Hinting instructions, and extended OpenType permissions tables. They have o

  • テクノロジー
  • 2009/07/20 07:48

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  The Week in Type I had intended to publish my review of Theo‘s The Typographic Desk Reference today. I’ll publish that next week. And, I missed out on April Fool‘s. I had so many ideas, from the new and free Adobe fonts with embedded ad glyphs (the humour’s in the execution!) to the … well, I’ll save that for next year. In the meantime, here’s plenty to keep you busy. Everything from new typefaces

  • 世の中
  • 2009/04/07 09:04
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  by Jeremy Mickel I remember clearly the day I was waiting for the 6 train at 33rd Street and Park Avenue in New York. I had taken pictures of type on the street for some time, but there was something here that caught my eye. There was a plastic sign on a door with letters and numbers routed out of plastic, and I noticed a couple of characters in particular: the way the 8 curved back into itself, t

  • テクノロジー
  • 2009/03/25 22:05
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  Kern Baby Kern It has been predicted that Apple will have sold 45 million iPhones by the end of 2009. And that’s before it hits China. There aren’t hundreds of type-related apps for the iPhone, but here are few; and a few type-related tips too. (Helvetica Moleskine give-away details at the end). iPhone apps Recently released, MyFonts’ What The Font for iPhone is a terrific little app. The biggest

  • テクノロジー
  • 2009/02/16 03:31

  • typography
  • iphone
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  by Alec Julien Five? There are generally taken to be five vertical measures of note in type design (from bottom to top): descender, baseline, midline*, caps-height, and ascender. But if you delve into the minutiae of font design, you soon discover that there are a slew of important vertical metrics that aren’t much talked about. In this article, I will take a look at several of these metrics, and

  • テクノロジー
  • 2009/01/14 16:40

  • typography
  • font
  • design
  • tutorial
  • webdesign

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