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Character Studies
by Paul Shaw & Stephen Coles
From 2005 until the end of 2010, I wrote the Hot Type column for Print. Early this year, the magazine asked me to make room for Stephen Coles. We called our joint column Stereotype. But we never got a chance to properly introduce ourselves—to each other or to readers....
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What is Typography All About?
by Allan Haley
If you think about it, the craft of typography is little more than the combination of three very simple things: attention to detail, common sense and visual acuity. Sure, there are typographic rules and guidelines, but they are, for the most part, just based on what is sensible and pleasing to the eye....
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Breaking Through Boundaries — Dialogue with Paola Antonelli
by Steven Heller
She is the best friend that graphic design and typography have in the museum world. Conceiver of such exhibitions as “Safe: Design takes on Risk,” “Humble Masterpieces: Everyday Marvels of Design,” and “Design and the Elastic Mind,” Paola Antonelli, senior curator in the Architecture and Design department at the Museum of Modern Art, New York, seamlessly integrates 2-D and 3-D design in a standard-setting manner....
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Open for Business
by Print staff
Playtype, an online type foundry established by the design agency, e-Types, has launched its own "Concept store" in conjunction with the revamp of playtype.com....
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Slab Happy: Trilby Reviewed
by Paul Shaw
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. Just as Roger Excoffon and Evert Bloemsma reversed the weight distribution of grotesques to provide a fresh appearance, Ross has done the same for the Egyptian. In doing so, he has managed to avoid the pitfall of ending up with a French Clarendon (think Playbill or Ponderosa), the typeface that has been pigeon-holed as a symbol of the Old West: the typeface of gunslingers and gamblers, of ranchers and rustlers....
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Typography in the 1990s
by Ellen Lupton
How quickly “now” becomes “then.” A few weeks ago, I was looking for examples of experimental typography to show to my MFA students at the Maryland Institute College of Art (MICA). I pulled a book off the shelf called Typography Now Two: Implosion, edited by Rick Poynor in 1996....
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Typoliteracy
by Steven Heller
I love type prefix titles like Typotheque, Tipoteca, Typology, Typomuffin, etc. Now there's Typedia, and you guessesd it is a wiki-like, interactive encyclopedic type website designed and devised by a slew of web/type enthusiasts and intended to answer every type question you've ever had....
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Diotima Classic
by Paul Shaw
Diotima, originally made as foundry type by D. Stempel AG, has become a forgotten face in the digital age. Linotype has just released Diotima Classic, a family of four weights (light, regular, bold, and heavy) with corresponding italics....
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Ventura
by Anna Malsberger
Ventura, a "bright-eyed and balletic" TDC 2008 winner designed by Dino dos Santo, has been sculpted by a couple of cultures and centuries....
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