Graphit manages to convey a distinct voice by using elements from sources that might appear almost antithetical.| Typographica
The eighties are everywhere. Love them or hate them, over the past several years it has been almost impossible to escape the resurgence of bright neon colors, flashy animal prints, neoliberal ideas, and catchy synth chords. For graphic designer Ivana Palečková and type designer Jitka Janečková, thinking about this decade brings back a very special piece of typographic nostalgia.| Typographica
There is so much to say about ABC Whyte and ABC Whyte Inktrap that a review of these non-identical twins from Dinamo could easily consist of two separate articles. The typefaces offer a clear reference to a milestone in type history and demonstrate an appreciation of past technological considerations through reinterpretation — a reflective practice using contemporary tools.| Typographica
I’ve never understood why people cut the crusts off of sandwiches. I guess it’s just my aversion to wasting food. I’ll admit, however, the neatness of those unnaturally sharp edges sparks a certain satisfaction. Lyyra’s vertically sliced stroke endings do just that.| Typographica
Archives are ambivalent places. They promise access to endless knowledge and information — but retrieving it, as most type designers know, can be difficult. The FACIT Model opens the gates to a specific archive that has barely been explored until now. It represents meticulous visual research into the ephemera produced between the 1950s and the 1970s by the Swedish typewriter and office machine manufacturer FACIT AB.| Typographica
PF Marlet is a type system consisting of five families with distinct voices and purposes. Despite the differences in their design, each family conveys an edgy feeling of elegance in its own way. This creates a cohesive system that is functional but has a strong personality.| Typographica
It might be tempting to label Maršo’s sans serifs as lesser communist rip-offs of the popular capitalist typefaces Helvetica and Univers (issued just a few years earlier), but that would not be a fair assessment. Where the Swiss modernists shed any remnants of calligraphy, Maršo embraces the artifacts of the written letter for their own graphic expressiveness, and he was not afraid to rotate the pen.| Typographica
The type community in Berlin is expanding more and more, even in these pandemic times. It makes me reflect on how important it is to be where things happen, to inhabit the right place to be inspired, and to observe. In Berlin, René Bieder designed a typeface inspired by a shop sign he discovered while walking the streets of his new neighborhood, in his hometown. With its luxurious and exquisite style, Bieder’s typeface lives up to its name: Magnat.| Typographica
There are many “types” of English: American English, British English, and, for me, Indian English. The character and personality of Oli seemed to capture the last point. I found it warm, approachable, witty, and expressive, yet having its own distinct character.| Typographica
With Brucker, Tankard once again consciously questions conventions — particularly the idea that a typeface requires consistency. Like watching a performer on a tightrope, or a live improvised show: there are moments where the performance almost falters, and the whole thing seems dangerously close to falling apart, but it somehow doesn’t, and that’s thrilling, and you can’t look away.| Typographica
Broome Sound, a custom typeface designed by Tré Seals for the third issue of Umber Magazine, intrigues me for several reasons: its important historical reference; its craft; its simple beauty; and, above all, its status as a work of distinct experience — an optical translation of sound.| Typographica
At first glance, Roba may appear to be a deco revival display face useful only on rare occasions. And indeed, Franziska Weitgruber has created two subfamilies that echo the geometry- and contrast-loving 1920s. But the families go much further by offering humanist details that help Roba avoid placement within any specific era.| Typographica
Zangezi Sans doesn’t come across as just another naked sans or neutralized friend of a serif family. Varied stroke weight, fluid counters, and spiky tails give Zangezi Sans a nonbinary vibe. This typeface bridges the serif/sans divide with shapes that borrow from calligraphy, stone carving, and snakes in the grass.| Typographica
Although I agree with Sowersby’s description — “Söhne is the memory of Akzidenz-Grotesk framed through the reality of Helvetica” — I would argue that Söhne contains more Akzidenz-Grotesk than Helvetica. It’s more unique, less monotonous, more dynamic, less boring. A beautiful yet universal sans serif family.| Typographica
Business, let’s keep it casual Let’s keep it fun for you and me, so you can see| Typographica
A reaction to a piece of brutalist Norwegian architecture, Viksjø is an anomaly as a typeface. It lives in a universe of its own, with no equivalent past or present.| Typographica
Where other fonts are promoted as workhorses, this one is a mule. It is often said that “workhorses” do their work without a murmur, quietly and in the background, conforming to the text they carry without coming to the fore themselves. Those are not horses, but chameleons and butlers. Elmer’s mules will deliver the job without pretending to go unnoticed.| Typographica
But what is Role all about? Anything. Or, almost. That’s its strength. In fact, when asked to detail what I found interesting about the family, my first thought was, “It’s not interesting.” As a book designer, that’s what I like. It’s a cohesive collection of good letterforms designed to help tell a story, not be the story.| Typographica
Why must government design be subjected to utilitarian austerity? Like any brand or institution, governments have their own design sensibilities and needs, and a good typeface can help provide a unique and recognizable visual language. The privilege and mandate of government designers is that we design and build for everyone.| Typographica
Titus Nemeth has done an admirable job translating Omnes’ relationship of structure and surface into the Arabic script, creating a design that is unmistakably Omnes while also respecting the proportions, patterns, and rhythm of Arabic.| Typographica
I think I first fell in love with Obviously while I was standing in front of a six-foot-tall version of it, struggling to frame a selfie. Because it was blown up so big, I could see it wasn’t just another heavily interpolated, meet-every-need sans family.| Typographica
Maybe it’s because I’m writing this in 2020, both with the benefit of seeing the next iteration of Aglet and also against the backdrop of a particularly tumultuous year, but there is something prescient in the structured softness of Aglet Sans. This year has demanded more flexibility, more warmth, and more vulnerability than we as a society are comfortable with.| Typographica
Although invented writing systems are not an alien concept, ones for cultures that don’t actually exist are rather rare. Thankfully, that didn’t stop the cosmically inventive Jeremy Tankard from designing not one but three styles of Queezoid for the Royal Manchester Children’s Hospital. The Queezies are a decidedly cuddly alien race that infiltrates the hospital, leaving its mark — literally.| Typographica
Commercial Classics serves as a catalog of typefaces that investigate and bring back to life some of the most notable milestones of English design during the Industrial Revolution / Victorian era. Although the designs of this epoch are sometimes criticized for lacking a clear conceptual direction, this period was nevertheless one of the most prolific and innovative periods in the history of type, bringing us new genres and styles. Caslon Doric is one of the most remarkable outcomes of this pr...| Typographica
At first, Chikki seems contradictory: How can something brittle, crisp, and textured evoke a feeling of such warmth and familiarity? If you are familiar with chikki, the Indian snack food to which this typeface owes its inspiration and name, you will understand.| Typographica
As a fan of error, serendipity, and misuse, I’ve always enjoyed the winks of oversized ink-trapped type. Though these days, the form falls more and more into pastiche. Karelia’s Outtakes style takes a fresh sidestepped approach to this genre.| Typographica
Hesse Antiqua is a titling face that, like a particularly fine wine, is best reserved for special occasions. These are letters that can lend a sense of dignity and permanence to titles and inscriptions.| Typographica
The way Katyi allows elements of broad-nib translation to become the raw material for abstraction reminds me of the limited palette that gives concrete poetry its striking power.| Typographica
NN Rektorat, a typeface family currently consisting of fourteen cuts, features squarish, geometric glyphs whose origins date back to the early 1930s. Rudolf Barmettler has resurrected the family in collaboration with the Swiss type design studio Nouvelle Noire.| Typographica
“Over the past few years, Sharp Type have assembled an eclectic team of skilled young designers in an effort to produce audacious, high-quality work, while trying to change the industry from the inside. At the heart of this team is the workaholic memelord Connor Davenport. … I watched Garnett grow and evolve, both on Davenport’s Tumblr and on his Instagram. And — with all of its quirkiness — it started to grow on me, too.”| Typographica
Libertinus Serif avait déjà été présentée dans ces pages il y a déjà longtemps (du moins à l’échelle de la faible ancienneté de ce blogue). Libertinus Sans ne l’avait pas été : voici la lacune comblée. Rappelons le contexte : en 2003 fut créée Linux Libertine, une famille de polices sous licence libre, ayant pour objectif, à … Continuer à lire ... "Libertinus Sans"| Une liseuse & des polices
Manix Sans HL est un fork d’Inter, famille de police conçue pour un affichage clair sur écrans. Ce fork, comme c’est souvent le cas des forks qui apparaissent dans fontlibrary.org, reprend fidèlement le style de l’original, et les modifications consiste à mettre par défaut des style alternatifs accessibles via les fonctionnalités OpenType de l’original. Ici … Continuer à lire ... "Manix Sans HL"| Une liseuse & des polices
Qualio est une linéale toute en arrondis, originaire d’Indonésie. Elle se destine essentiellement à la création de logos et aux titrages. On notera quelques défauts au niveau des graisses bold et black, dont certains glyphes restent non « engraissés » et reprennent l’apparence du regular. On notera également des italiques fortement inclinés. Type : Sans serif Nombre de … Continuer à lire ... "Qualio"| Une liseuse & des polices
Noah est une élégante linéale géométrique, qui parvient à éviter la rigueur de la géométrie en introduisant des éléments humanistes. Les quatre styles présentés ici sont les seules variantes gratuites d’une vaste famille de polices commerciales, créée par des Bulgares de FontFabric. La famille complète, payante, est très étendue, puisqu’elle se décline en 9 … Continuer à lire ... "Noah"| Une liseuse & des polices
Inter est une police conçue pour les interfaces utilisateurs de logiciels. C’est donc une écriture conçue pour un affichage clair et lisible en petite et moyenne tailles, sur écrans. Les menus de logiciels se doivent d’être clairement lisibles, la police employée doit se faire oublier pour ne pas distraire l’utilisateur qui cherche dans les menus … Continuer à lire ... "Inter"| Une liseuse & des polices
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Even with all of the innovations in contemporary typeface design, one might expect some basic concepts to be set in stone — like what constitutes an italic, for example. Savoie, however, offers a wholly unexpected and fiercely original interpretation.| Typographica