Designing Hebrew Type — I Love Typography
Just to be clear from the start: I don’t speak Hebrew. When I first started working with Hebrew type, I couldn’t tell one letter from another, or even whether the page was right-side-up or upside-down. In short, I was completely unqualified to work with the Hebrew alphabet. As odd as it may seem, though, there were some advantages to my lack of knowledge. Without any preconceptions, I was open to
The Evolution of Chromatic Type — I Love Typography
Color fonts or chromatic type are not new. The first production types appeared in the 1840s,1 reaching a peak of precision and complexity a few decades later as efficiencies in printing enabled greater creative freedom. In 1874 William H. Page of Greeneville, Connecticut, published his 100-page Specimens of Chromatic Type & Borders2 that still has the power to mesmerize designers today. William H.
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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
Make the margins bigger — I Love Typography
If you’re like me and use the margins in books for commentary (‘Interesting idea.’ or ‘author is nuts!’), cross-references (‘see also Book X by M. Malaprop.’), and comparisons (e.g. ‘cf. p.58.’), then you might also share my frustration: In many, if not most books, the margins are just too small. Compare this fifteenth-century mise-en-page with a mass-market twenty-first-century book. Look at thos
The design of a signage typeface — I Love Typography
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
Garçon Grotesque — I Love Typography
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
タイプデザイナー 岡野邦彦 Quintet書体インタビュー — I Love Typography
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
An interview with Kunihiko Okano — I Love Typography
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
The making of FF Tundra — I Love Typography
by Ludwig Übele A line of text is like a silhouette on the horizon. Closer inspection reveals the detail, the trees, bushes, rocks; details that, though only vaguely perceivable from afar, create both rhythm and variation. The beauty of this landscape is born of both regularity and variety. I chose Tundra as the name for my new serif typeface not during the design process, but from the outset. I h
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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
Reviving Caslon — I Love Typography
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
Who invented the alphabet? The Origins of abc — I Love Typography
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
Reviving Caslon — I Love Typography
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
Biome — the making of a typeface — I Love Typography
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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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
Creating Grand Gargantua — I Love Typography
Movable type: perhaps nowadays few will know the exact meaning of these two words, but until the middle of the twentieth century a letter was a small piece of lead, and to use it for printing you literally had to move it around, by hand. In the 20th century big machines like the Monotype, equipped with keyboard, were used for typesetting; but until 1900 all type was set by typesetters, by hand. Th
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Endangered Alphabets — I Love Typography
Buy fonts from the world�s favorite typography blog, I Love Typography (ILT)
Buy fonts from the world�s favorite typography blog, I Love Typography (ILT)
Buy fonts from the world�s favorite typography blog, I Love Typography (ILT)